Cynthia Lovett's installation, entitled Big Meetings, combines a family history with elements of a collective past to explore the notion of a scapegoat and its accusers. The decaying wood of turned-over picnic tables and benches appears as ruins surrounded by wallprints of audience members at an unnamed event. These crowd images are derived from various source materials ranging from a lynching to a sports event.

Central to the piece is a video of the artist's father relating a comical anecdote about his pet goat's inevitable sacrifice for the church's annual "big meeting." As the story is told it becomes more and more detached from its intimate context, viewers consider whether they are identifying with or objectifying this family.

Further, the nonlinear narratives of Big Meetings function as emblematic texts that multiply in meaning. They are recollections constructed both visually and orally to reveal potential correlations between the deeply personal experience and the collective one.