Referencing Robert Propst’s original design for Herman Miller company, these installations return the form of partitions to a sense of movement and dependent participation required of the viewer. The open concept cubicles reference an outmoded form of office space and economic stability, and the shift to precarious labor, not just by the artist as freelancer, but by workers in many fields across the global gig economy. Through the use of a privacy screen, which renders any monitor behind it completely opaque, viewers are asked to reorient their bodies to gain access to image. The inclusion of the Luna moth wings which have a pattern of an eye is a subtle gesture aimed at foregrounding not only the literal and theoretical action of fragmenting, obscuring, camouflaging, but also, the perverse nature of surveillance.

As part of the exhibition design for Action Office Was Meant to be About Movement, there were four hidden altars which sat behind the curved wall of the main installation, and which were not visible by the viewer. Artists who also have a spiritual practice were invited to offer an item for one of the four colors that resonated with them the most. The altars were not visible during the run of the exhibition, instead their presence was disclosed via a publication that came out the last day of the exhibition. The altars were meant to bring an additional dimension to the piece, as a way to influence and guide viewership and resonance beyond aesthetic visual form.