A walk traces a trail between two sets of rooftops and two temporalities: Christian Jankowski’s Roof Walk (2007) and Trisha Brown’s Roof Piece (1971). Between them unfolds a corridor of invisible architectures — air, scent, vibration, original and fake labels — the air thick with molecular interference. Inspired by Chandler Burr’s writing on New York’s scents, the walk drifts through olfactory holograms: steamed rice, diesel, cardboard, ozone. Each molecule carries traces of everything else, forming an atmospheric montage where past and present, performance and residue, fold into one another. “We dance like molecules,” Malašauskas notes, spinning a hula hoop, an act of compulsive improvisation. Beginning at Canal Street and moving toward SoHo, the dérive is guided by molecules rather than maps: smells appear, vanish, and reappear like performers finding their cues. The city becomes a moving hologram, each fragment containing the whole, each inhalation revealing a different composition of time. The piece extends the artist’s exploration of immaterial exhibitions — a choreography of encounter, trace, and disappearance, and never back the same way.