This term's studio exhibitions included work that wasn't finished — deliberately. Students were asked to show process alongside product: false starts, discarded drafts, the version that didn't work.
The critique sessions that followed focused less on polish and more on decision-making: why a student chose one material over another, what they'd try differently next time.
It's a small shift, but it changes what 'good work' looks like in the room — less about arriving at a clean answer, more about being able to explain the thinking behind an unclean one.