Over the years, though, The Lab's creators have learned how to better cater to its captive audience. Cut down the wait time, give out useful swag and most of all, make everything Instagram-worthy.

This year's artists took that last lesson seriously. From the colorful, giant balloons housing wireless LEDs in Pixel Vortex to the reptilian laser projections on visitors' faces in Visage, each installation is prime for photo opps. In Pixel Vortex, for example, I walked into a tall, round room filled with huge glowing balloons propelled by powerful fans on the floor. I took a few photos and wondered if that was it. After about a minute of throwing them around and marveling at the pretty hues that changed seemingly randomly, I was taken to a window outside the room with a 3D camera over it. There, I laid my hands on pin-cushion-like galvanic skin-response sensors while looking up at the camera, and the system captured my "aura." A few seconds later, the balls inside the room lit up in corresponding colors. And I walked away with a portrait of my aura that was so pretty I had to share it on Instagram.

Instead of arranging everything in a linear order under one massive tent, The Lab's curator, Justin Bolognino, and his team decided to split up the individual exhibits this year to shorten wait times. He told Engadget it created more of a "choose your own adventure" vibe than before. The freedom to roam the area in any order was nice, but I missed the air-conditioned waiting area from last year. It probably would also have come in handy when it started to pour Friday afternoon.

A crucial difference this year was the fact that The Lab actually had a theme: "Fractal nature." According to Bolognino, it's about understanding that "space and time really are just what you want them to be," but it also aims to remind the audience of the importance of sustainability. Having a theme gives all the installations a sense of cohesion, no matter how different and unrelated they all seem. For example, Pixel Vortex creator Jon Morris told Engadget that his work was inspired by his experience swimming with bioluminescence in Puerto Rico, and he wanted to re-create it for people. Meanwhile, the eye-catching light installation Infinite Wild was made from sustainable, recyclable or reusable materials and powered by a mix of grid and solar energy. That's no easy feat with tech-related works, according to artist Dave Sheinkopf. A bunch of lights and computers might not immediately evoke the idea of sustainability, which might explain why there are signs in front of each exhibit.