Good morning, Hank, it's Wednesday.

Check out the canals! Right here in Indianapolis, we are the Amsterdam of central Indiana. So Hank, today, the Yeti and I are out at 100 Acres, the art and natural park that the Indianapolis Museum of Art is opening this weekend, which is the culmination of years and years of work by lots of people, including the Yeti.

So Hank, since you and Mom and Dad can't be here, I thought I would give you a tour. So Hank, I don't think you know this, but my new book is about an island, and I've been doing a lot of reading about islands, and one of my favorite projects here in the 100 Acres Park is this awesome, tiny little island by Andrea Zittel called Indianapolis Island. So, the crazy thing about that island, Hank, is that, even though it is tiny and you can just barely stand up in it, two people are living there all summer.

They've got a garden growing that extends out into the water, and it's a fascinating experiment in how little we need in order to live. There's lots of cool trails where you forget you live in Indianapolis and you can pretend that you live in, I don't know, Missoula. This is Eden II, a fifty-foot refugee ship created by the artist Tea Mäkipää.

You know Tea Mäkipää, Hank. She did TV for Chickens. This is pretty awesome to have this weird, dislocated refugee ship sitting on a lake in Indianapolis.

Cute boots are cute. This is one of Jeppe Hein's roller coaster benches, the only roller coaster I will ever ride. So, Sarah, tell me about this piece here, this green, uh, structure that looks almost like a TARDIS. [Yeti:] Now, this project is a temporary intervention into the landscape that will really only be here for a few days, and it's, it's point is to remind us of our humanity [John:] This is by the artist collective Type A.

Those two rings create a single shadow exactly one day a year, the summer solstice. We are almost there. As you can see, Hank, I am not the only media covering this event.

Here we have Free Basket, by the Cuban artist due Los Carpinteros. Hank, what I love about Free Basket is that you can actually play on it, provided you're, you know, willing to invent a new game, like we used to when we were kids. It's like a lot of the work in the park.

It forces us to think more complexly about the shapes and spaces that we often just look over, whether it's benches or islands or basketball courts. Which, by the way, Hank, is why I think people often dismiss contemporary art; overlooking things is comfortable. But I would argue that failing to grapple with complexity actually turns out to be a fairly bad life strategy, which is why I like good art so much.

So I think it's really good, Sarah. [Yeti:] Thanks. [John:] Uh, my only complaint, and please don't take this personally, is that you didn't dome it in, so there's no climate control. It's hot! Hank, there's a ton of other stuff happening at 100 Acres, more info in the doobly doo, but I'm not going to tell you about it because I have to go watch South Africa play Uruguay.

I will see you on Friday.