Seattle-based artist James Coupe, on the other hand, turns a common utilitarian object—the security camera—on its head with his piece, “Panoptic Panorama #1: I am standing in an empty room.” Five beady-eyed cameras hang from the ceiling on a pole in the center of the gallery, apparently taking in the entire space. A panoramic display of five screens hangs on a facing wall of the gallery. One expects the screens to show the people milling about the gallery, but in a twist on the old surveillance theme, they instead display the gallery sans visitors. Coupe created a computer process that combs the video captured by the cameras and filters out movement, creating the impression that the gallery is empty when it is not. Occasionally, however, a visitor stands still long enough to flicker on the screen for a moment. “You can tweak [the program’s] sensitivity so it becomes a little glitchy,” Coupe, who was at a recent press preview, says, “which I think is good because it undermines the whole premise.” The piece is disconcerting in an entirely different way than is a typical security camera: Rather than capturing people’s actions, Big Brother-style, it erases them altogether.