Marc Swanson took on a very different quest by channeling his inner self through the Yeti. A four-six week foraging journey through his house and a museum as a Yeti culminated with Killing Moon #3 (self-portrait as Yeti in his lair), which looked like a diorama when displayed in the boiler room, the Yeti’s lair, of MoMA P.S. 1 during the 2005 exhibition Greater New York.

"The idea was that I would be the Yeti and basically collect for four-six weeks every night to make the installation…I had to reconcile the fact that I’m an educated artist who knows about formal issues and academia, and figure out what the Yeti would make instead - these more ritualistic objects. But the Yeti also collects things in the world and then puts them together to sort of make sense of the world around him. It dawned on me that I pretty much do the same thing; so I’m the Yeti and the Yeti is me."

Ironically, Swanson’s revelation reflects Jill Miller’s observation about the other path that humans could have taken. Swanson considered what his other, or Yeti in his case, might create or collect if he, Swanson, had taken the Yeti path. But unlike Miller, Swanson’s prognostication cites convergence between creature and human, while Miller views them symbolically as divergent paths: one mysterious and peaceful with little impact on the land and the other destructive and longing for the other.