Artworks in this gallery

• 1 (2026)
• Ai Weiwei — Surveillance Camera (2010) Artist: Ai Weiwei Title: Surveillance Camera Year: 2010 Medium: Marble sculpture Dimensions: approx. 25 × 60 × 30 cm (varies by exhibition) Collection: Various museum collections and gallery exhibitions (2026) — Ai Weiwei’s marble camera transforms a common security device into a monument-like object. The use of marble is significant because the material is historically associated with classical sculpture and public monuments that commemorate important figures or events. By carving a surveillance camera in marble, the artist suggests that surveillance has become a permanent feature of contemporary society. What is normally a small and often ignored object suddenly feels heavy, permanent, and unavoidable. The sculpture also forces viewers to confront the presence of surveillance directly. In everyday life, people often ignore cameras mounted on ceilings or walls. In a gallery setting, however, the object becomes impossible to overlook. The work raises questions about power, authority, and privacy. It also reflects Ai Weiwei’s own experiences with government monitoring and political control. As the opening piece of the exhibition, it clearly introduces the theme of surveillance while encouraging viewers to consider how easily systems of monitoring become accepted as normal parts of modern life
• Trevor Paglen — Limit Telephotography (2010) Artist: Trevor Paglen Title: Limit Telephotography (series) Year: 2010 Medium: Chromogenic color photograph Dimensions: approx. 101.6 × 127 cm (40 × 50 in) Collection: Various museum collections including the Metropolitan Museum of Art and Smithsonian (2026) — Paglen’s photographs expose the physical spaces where surveillance and military technologies operate. Unlike traditional documentary photography that clearly reveals its subject, these images often appear distant, hazy, or difficult to interpret. This visual uncertainty becomes part of the meaning of the work. The blurred landscapes and barely visible structures reflect the secrecy surrounding many surveillance programs. Viewers are forced to search the image carefully to identify the hidden installations within the landscape. This experience mirrors the difficulty the public faces when trying to understand government surveillance systems. Paglen’s work suggests that powerful monitoring technologies exist far beyond the everyday spaces people occupy. By photographing these distant sites, the artist reveals how surveillance infrastructure operates quietly and often invisibly. Within the context of this exhibition, the work expands the conversation about surveillance by showing that control is not only present in visible cameras but also in remote locations that remain largely unknown to the public.
• Banksy — CCTV Angel (2007) Artist: Banksy Title: CCTV Angel Year: 2007 Medium: Stencil and spray paint on wall (street art) Dimensions: Varies depending on the wall surface Location: Originally installed in public urban spaces in the United Kingdom (2026) — Banksy’s CCTV Angel introduces humor and satire while still addressing serious political themes. The pairing of an angel with a surveillance camera creates an unexpected visual comparison. Angels traditionally symbolize protection, morality, or divine observation, while CCTV cameras represent modern technological monitoring. By placing these two symbols together, the artwork suggests that surveillance cameras have become a new form of authority watching over public life. The stencil style makes the message easy to read quickly, which is important in street art where viewers may only see the image briefly. Because the work appears in public space, it directly interacts with the real surveillance systems installed in cities. This makes the artwork feel both humorous and unsettling. Within the exhibition, the piece encourages viewers to think about how easily societies accept surveillance in everyday environments. It also adds a critical perspective that questions whether constant monitoring truly provides protection or simply reinforces systems of control.
• Hasan Elahi — Tracking Transience (2003–present) Artist: Hasan Elahi Title: Tracking Transience Year: 2003–present Medium: Digital photography, GPS tracking data, web-based installation Dimensions: Variable (digital installation / ongoing archive) Collection: Exhibited internationally in museums and galleries including the Venice Biennale and the Centre Pompidou (2026) — Tracking Transience presents a very different response to surveillance compared with the other works in the exhibition. Instead of resisting monitoring, Hasan Elahi intentionally publishes large amounts of information about his daily activities. The project includes photographs of meals, hotel rooms, airports, streets, and many other routine moments. Individually these images appear simple, but together they create a massive archive of personal data. The repetitive structure of the project resembles the visual layout of surveillance databases used by governments or corporations. By voluntarily producing this archive, Elahi disrupts the usual relationship between observer and observed. Rather than hiding from surveillance, he overwhelms it with excessive information. This strategy raises questions about privacy, transparency, and control in the digital age. Within the exhibition, the project shows that surveillance does not only come from authorities but can also involve participation and self-documentation. It challenges viewers to consider how much personal information people already share through digital technologies
• Jenny Holzer — Truisms (1977–1979) Artist: Jenny Holzer Title: Truisms Year: 1977–1979 Medium: LED installation, electronic signboards, posters, projections Dimensions: Variable depending on installation Collection: Museum of Modern Art (MoMA), Guggenheim Museum, and other collections (2026) — Holzer’s Truisms expands the theme of surveillance by focusing on language and information rather than physical technology. The work consists of short statements such as “Protect me from what I want” or “Abuse of power comes as no surprise.” Displayed on LED signs and public billboards, the messages resemble advertisements or official announcements. This familiar presentation encourages viewers to initially trust the format before questioning the content. Because the statements appear in public space, they blur the boundary between art, information, and political messaging. The work highlights how authority can influence behavior through communication and repeated messages. In the context of this exhibition, Truisms suggests that surveillance and power do not operate only through cameras or monitoring devices. Control can also exist through ideas, language, and public narratives that shape how people think about authority and social order.

About the creator

kade detrolio on Galerra