While Menkman’s work evolves around the use of artifacts that are generated through the (often) unruly use of media, paradoxically enough, the artist has always relied on very stable, conventional methods of display; through vj-softwares, online galleries, rendered film or in print. Besides the creation of a formal Vernacular of File Formats, within her static work, she also creates work in her Acousmatic Videoscapes. In these Videoscapes she strives to connect both sound and video artifacts conceptually, technically and sometimes narratively. By combining both her practical as well as her academic background, Menkman merges her abstract pieces within a grand theory of artifacts (glitch studies). In her residency in Mexico, Menkman worked on a 3D environment that incorporates and reflects her subversive, fragile and quirky methods. This medium is best described as a glitchy and awkward 3D environment through which her (video) artifacts can be navigated. The environment can also be used as a tool in live AV performance.