An artist working in such a non-gallery environment must understand its code in order to hack it, i.e. to appropriate the space and use it for art. This means that any artwork in the non-gallery space builds on the individual conditions of the space it is placed in, even if it is not site-specific. The two works by Vibeke Jensen, The Blue Wall of Silence and Night_Watch, do this in very specific ways.

In the highly regulated Chinese public environment the roaming projection of Night_Watch not only creates awareness for the ubiquitous presence of surveillance and control, but it becomes a manifest of the successful ‘hack’ of that very space and system of rules.