I see the room as a stage, the piece as the lone performer. Minimalism is a spotlight that forces everyone to look at the same bare line, unifying them in the absence of distraction, but if the spotlight is too thin the audience loses focus and the performance feels empty, driving them away. Maximalism, on the other hand, is a cacophony of lights and sounds; it can pull people in like a carnival, but the sheer overload splits the crowd into clusters of self‑satisfied viewers, each lost in their own miniature spectacle. Both can pull the crowd together if you control the tension, but they also split it apart if you let the edges blur or the noise drown.