For the piece, a continuously looping 20-minute video is projected down onto a table. The video shows a hand laying out pictures — there are mugshots; images of cuddling mothers and children; postmortem portraits with dead eyes staring out of maimed faces; smiling, seemingly anonymous faces; the autographed portraits of apparent celebrities; and occasional painted images, self-portraits by Gauguin, Rembrandt and Modigliani. There is the Jesus image from the Shroud of Turin; a face from a Fayum mummy portrait; images that look like the products of police sketch artists; formal portraits of people who look like politicians or authors; a photo that looks like Patrice Lumumba; and, cropped from the infamous Vietnam-era image, the tiny face of Kim Phúc, the little girl charred by napalm.
The images in the video are constantly changing, just like those on the front page of the newspaper. The layout remains the same, however, as the hand obscures one image with another, sometimes blocking them out entirely with a blank piece of paper. There is a mechanical clacking sound as each photo is placed. The surreality of the piece is heightened by the fact that the video is projected onto real rectangles of paper on the table, giving the sense of actual photos.