It was not the last of the thinking.

People We Love was the last work KMA made for public space. It was not the last of the thinking.

The question all of this work kept asking — whether the audience could complete the work rather than merely receive it; whether the real subject was the act of attention itself — did not belong to installations. It preceded them, and it outlasted them. It came with me when the work changed medium. The dancing figures that drew a crowd in Trafalgar Square, the chalked body borrowed from Rembrandt, the spotlit stranger before a screen: these were all versions of a single contract, the one the theatre has always made and the cinema mostly forgot — we both know this is a construction; now let us build something together that neither of us could build alone.

That contract is what carried forward. In 2014 it went into a film: The Knife That Killed Me, the first feature made entirely against green screen in the UK, co-directed with Marcus Romer for Universal. It was a film that asked the audience to hold its obvious artifice and imagine through it rather than be fooled by it. The same instinct runs through the greenscreen Macbeth that followed, and into the mixed-reality work Don Quixote, where the old problem of how to put something at the centre that the audience must complete has simply found a new form, this time inside the frame rather than in the square.

A company grew out of that first film, almost by accident: ViridianFX, in York, made by people who didn't yet know they couldn't make a film that way. It still exists, and it does work I'm proud of. But it is not the subject here, any more than it was ever the point. The point was always the experiment — the willingness to make something whose outcome you couldn't specify in advance, and to leave the people on the other side of it something to do.

That work continues. It's gathered at kitmonkman.com.