In this conceptual work, Acconci documented his performative response to New York City traffic signals over the course of a single day, creating a systematic record of his movements and interactions with urban infrastructure. The piece consists of twelve gelatin silver photographs paired with written notations and hand-drawn marks that track the artist's physical engagement with traffic lights as both regulatory systems and sculptural objects. By elevating this quotidian experience into an artwork, Acconci exemplified the body-based and documentation-driven practices characteristic of 1960s performance and conceptual art.