In 1970, Tudor composed the sound system of an entire pavilion at the Osaka World Expo as a “musical instrument.” When taken at face value, this statement implies an uncanny image of “instrument” that is more difficult to grasp than the ordinary use of the term in electronic music to address modular components. For if the Pepsi Pavilion is itself an instrument, then the instrument is larger than a human being, thus placing the performer, along with the audience, “inside” the instrument. The presence of the Pepsi Modifier that Gordon Mumma designed and installed inside the pavilion, in addition to the fact that Tudor made nine or ten “programs” to be performed there, further complicates the simple equation between instrument and composition that has been associated with Tudor’s music. The investigation of what really happened at the Pepsi Pavilion led to the puzzle of just how many instruments were involved, which triggers a reflection on the topological binary of “inside” and “outside” that Tudor used to make sense of his approach.