As in previous Industry projects, which have explored the possibility of individual audience members having vastly different experiences, the plot of “Sweet Land” isn’t straightforward. About 200 people gather at the start inside a pop-up space modeled on the Amargosa Opera House, an unlikely theater plopped into Death Valley, Calif. After an introduction — composed by Mr. Chacon and Ms. Du and depicting the Arrivals, well, arriving — the audience is divided onto two tracks, each leading to a separate theater and story.

One is called “Feast,” written by Ms. Du and Ms. Duncan about welcoming the Arrivals; the other, “Train,” is by Mr. Chacon and Mr. Kearney and about something like Manifest Destiny. Each, Mr. Luger said, is “closer to what the reality might have been, at least in terms of the emotional intensity. It’s much more visceral. It really does not hide away from the violence, the lust and sexuality. And the displacement.”

In these scenes, Mr. Chacon and Ms. Du avoided quoting specific Indigenous musical styles. Still, there are echoes of them, such as in the vocal technique for Makwa, one of the Hosts; there are parodic evocations of Western opera, as in an Arrival’s recitative, delivered in countertenor voice with Baroque accompaniment.