In a self-directed picture interrogating the nature of hide-and-seek, artist Herman Chan contemplates the internal dynamics of power. Through sadomasochistic human furniture, he interprets the entire power structure as a mold by which capital takes a tangible form. The mise-en-scène is organized as an everlasting game played by watchers and the observed, dominators and those subjected to their reign, in a matrix of submission and permission. Humans here become fungible objects and are subordinated under a hierarchy of appearance, even as Others gaze and ‘surveil’ back with a defiant nothingness.