Following the self-curated form of my previous three hour performance, “on the video,” I set up shop at the campus gloryhole, and invited visitors to share a moment with me in the partner stall. The ‘traditional’ gloryhole experience is initiated through a foot tap call-and-response; visitors to my performance were asked (via a Facebook event) to enter the stall, tap their foot three times when ready, and listen for four taps in response. Phallus worship was magnified tenfold with Beyoncé’s roller-rink-ready “Blow.” Roughly half of the visitors to “GLORY” were unaware of the performance, some passing quickly through the facilities, while others waited impatiently in the partner stall for the oft-sought ‘business transaction.’ (Intentional) visitors were asked to take as many photos as they so desired—this became my only documentation of the performance. I have chosen to categorize this performance as “self-curated” (a term borrowed from writer/performer Lee Turner). “on the video” erected an e-wall between performer and observer, tasking them with the same documentation role, but allowed the audience to watch as much or as little of the performance, from the comfort of their own bed. “GLORY GLORY HOLELUJAH” explores and magnifies the performer-observer relationship through a semipermeable membrane, and places upon a porcelain throne our search for gratification.