This project-based thesis takes two tracks in exploring an evolution in organizational structure situated around the making and presenting of performance art in Chicago, following the organizational leadership of Lin Hixson over a longer timeline, through the closure of one organization into the birth of another. Every house has a door, the artist-led collaborative co-founded by Lin Hixson and Matthew Goulish after the closure of Goat Island, is reviewed as an example of organizational structure and development formed through investigation of studio practice. This illustrates the deliberate changes made to the structure and function of the organizational model in order to support artistic practice. Does this type of evolution refer to the formal qualities of performance art-making and in tum support the art form and the artistic practice of the leadership? By exploring the systemic conditions leading up to key moments of transition in organizational structure and following key individuals through those transitions diachronically what analysis can be made? Do these self-referential organizational structures allow artists to develop specific context for the creation and presentation of work? The second track, a series of projects, implemented through 2016 and 2017 are outlined. These projects are structured so as to align with the studio practice and collaborative mission of the organization. The social media platform lnstagram and a new Every house website are explored as 'spaces' that can serve multiple needs for an organization. Consideration for the invitation of guests at the presentation of new work in Chicago and New York is reflected upon as a way of community-building and audience development.