PICA's Time-Based Art Festival is over, and with it our 10:30 commitments to the Works, waiting in line to see sold out shows (some featuring old folks talking about sex), eavesdropping on art conversations, and hanging out in a warehouse that once held window blinds. Here's what we saw over the past couple days as TBA drew to a close:

Thomas Ross watched "a panel of Portland’s friskiest seniors...describe, year by year, their sexual history" at Mammalian Diving Reflex's All the Sex I've Ever Had. He did not name names.

Jenna Lechner attended Evelyn, Chanticleer Tru's dance party to end all dance parties, where she saw a man dressed as a plush disco ball, party roller skates, and videos of Jem and the Holograms. Elsewhere, she sat through two hours of "butts and mayhem," and witnessed GERMINAL, a performance that should not have been possible, but was, delightfully.

Matt Stangel looked for America in Liz Harris (aka Grouper) and Paul Clipson's neon signs, nameless roads, and broken windows.

I watched Jack Ferver perform an exorcism, and experienced the IRL equivalent of this at Oneohtrix Point Never's Friday night performance at the Works—except with a projection of what looked like a video game landscape full of disembodied humanoid objects instead of poignant emojis:

Did you miss TBA? You didn't really! Well, okay, you did. But you're also in luck! Many of the pieces from "As round as an apple, as deep as a cup"—visual art curated specifically for TBA—will stay up through the end of this month, some into October—and admission is free. Free art, everyone!

That means you still have time to see work by seven TBA artists, including Wynne Greenwood, whose installation, Stacy, is a lo-tech precursor to the Tumblr teen girl aesthetic, with sculpted heads made out of found materials (one is a soccer ball), looped sounds of bratty, sing-songy teenage girl voices, and multiple projections of Greenwood's 90s punk feminist band, Tracy + the Plastics, in which she played every member.