A two-way mirror that is reflective from afar but which becomes transparent up close was used to produce this labyrinth. In this maze of reflection transparency, the viewer experience nates between that of the observer the observed. The artist has been installing pavilions made of glassmirror in various parts of the world since the late 1970s he commented that his work as geometric forms inhabited activated by the presence of the viewer, [producing] a sense of uneasiness psychological alienation through a constant play between feelings of inclusionexclusion. As the artist did not visit Anyang himself, he valued the opinions he exchanged with the staff in Korea to ensure that his work could be carried out as he intended. In his proposal, he noted that his design was not final, that discussions between Kris Kimpe, the architect helping him with the production, those involved with the production of his work in Korea were important for the actual installation. The artist archive includes copies of his drawings as well as pictures of the Korean box tree that he studied for the installation.