In his music and his multimedia installations, Stephen Prina explores the conventions of performance, display, exhibition, and historiography. The distribution of culture and its reception by viewers are central to his investigations, which employ a radical discursiveness that can encompass bits and pieces of information from many different eras, fields, and geographies. While Prina has incorporated the music of other composers into some of his visual art, recordings of music projects that he has been involved with, such as Sonic Dan and the Red Krayola, are typically released through record labels. In his more recent work, however, including The Second Sentence of Everything I Read Is You: Mourning Sex (2005–7), he has started to incorporate his own musical compositions and performances into his sculptures and installations. Mourning Sex is the second in a series of three installations that share the same main title, followed by a subtitle that reflects the specific subject matter of the work. The first part of each work's title (The Second Sentence of Everything I Read Is You) is drawn from a conversation between Prina and the writer Lynne Tillman, who told him that it was important that the first sentence in any piece of writing grab the attention of the reader.
The components of all the works in the series travel in crates, which are then transformed into benches and situated in the middle of the installation. A look at the materials list indicates the detail and specificity that Prina insists on for his work: "Acrylic and acrylic enamel on linen, acrylic on plywood, acrylic enamel on wall, 9 Boston Acoustics™ Dsi265 speakers, Alesis™ ADAT-HD24 XR digital hard-disk recorder, 5 Samson® Servo 200 power amplifiers, Monster Cable™, Furman PM-8/E II power conditioner, Duratran™ on EFRA Lichtwerbung, ETC Source 4 Jr.™ spotlight, FLOR™ carpet."