“Following her usual custom when visiting the Institute’s artists, Inez entered the waterdancer’s workspace without going through the formality of sounding the chime to request entry. She agreed in principle that the artists should consider their workspaces to be places of inviolable privacy but liked to think of the Institute as a community whose creativity flowed and merged without boundaries and borders — as a garden of activity cross-fertilized and nourished through free interaction among all the Institute’s inhabitants. She”