In the forensics of art, unintended consequences abound. Between 1964 and 1968, George Brecht, a member of the Fluxus group, collected objects and documents from various friends and associates and placed them in a case he named Fluxkit. Brecht intended the case to be routinely opened and its contents handled, as if commonplace. However, it is most often now regarded as a closed case, for it is a highly valued object of our cultural heritage. Although the case is re-opened from time to time, the objects contained can rarely be seen. However, in the first days of May, 2011, the artist Ian Everard transcribed and copied them by hand, one by one, piece by piece, in what he admits was a vain attempt at reclamation. For the artist, the work of copying is an act of thinking, a way of raising questions and, in a sense, interrogating the object. There is an implied staring at the object, which, of course, tends to stare back. Not only each object but also the case was duplicated. On May 6th 2011 at 3:00, he re-opened the case, in the Sesnon Gallery at UCSC, reviewed and named each real object and returned it to the case while, simultaneously, the artist Maria Chomentowski opened the duplicate case, reviewed and named each duplicate object and returned it to the duplicate case. Everard named the project Influx, implying invasion and increase but, ultimately it also involved dispersion and disappearance.