As a domestic fiction, the household maintains a bodily arrangement, a particular distribution of resources and erotics. Yet what is assembled here under the title of Householdbreaks down and alters what the house otherwise keeps. Sagri experiments with what is neither inside nor outside –in the entrances and exits, in liminal spaces, in neither-nor and yes, and. And in tending to the debris of domestic edifices, in turning the domestic inside out, Sagri insists that political relations must emerge from sites as contested and starved as these. The fleshy ripped parts, the touched and informed parts, the messy wet parts that then dry and are cracked and repaired: as these ruptures collect and assemble, they compose one another en masse. Sagri is investigating the inside out of forms, turning form inside out through the vestibular gash of a tear. Their insides invert surface and generate depth in, as Fred Moten and Nate Mackey together write, “a broken claim to connection.”iiThe undressed and remembered cut marks both the non-evasion of a structure of containment as well as that structure’s undoing. What assembles attempts a future contingency –an alternative infrastructure –through which another social organization might be felt through doubles, modules, and shadows. Though cornered and contained, this assembly lives together beneath the register of what is properly made. Any resistance to modernity’s aesthetic projects bears this break both as rupture and condition of assembly. Still, the cut remains open.