In Some December, Lampert assembles footage shot with a small digital video camera over the course of several days in December 2011. Exploring the implications of the camera's portability, Lampert uses its presence as a catalyst for a study of the different performative personae that individuals are expected to adopt in public and private spaces, and where and why the line of demarcation between each is drawn. Lampert makes the camera a point of conversation during the course of a holiday party, recording the relative levels of ease and discomfort with which his co-workers conduct themselves as they are being filmed. First using a book for concealment, and then filming his reflection in the darkened window, Lampert stealthily records a subway rider in a Santa Claus hat as he sings songs by, and declares his adoration of, The Supremes and other soul musicians of the 1960's and '70's. Though the man seems to be performing, his lack of interest in any audience indicates that while his actions are taking place in a public space, his notions of public and private behavior differ from those considered normative by society. While Lampert's attempt to film a street performer who makes money by posing for photographs is thwarted (he is asked to pay for the man's services) his camera is barely noticed by individuals at a busy ice rink. The piece opens and closes with a recording of the artist's cat making its ungainly way across deep snow.