Two white sculptures, roughly human height, inhabit a dimly lit gallery. The first takes the form of Jesus; the other depicts “Kuan Yin,” the famous female Buddhist Goddess. Both are slick and white and both are equipped with goggle-shaped LCD screens inside. In order to see these videos, the viewer has to assume a position foreign to much art spectatorship. The screen that is part of the Jesus sculpture is nestled in the back of his head. Due to the stance of the figure, positioned as if he were falling backwards, the viewer appears to be supporting Jesus when watching the embedded video. The footage inside the head-turned-mask is a live feed of the spectator looking and holding. For the “Kuan Yin” sculpture, the viewer kneels on a specially designated pad, placing her/his head between the figure’s feet to view the screen placed there. The spectator thus inevitably assumes a bodily position that is recognized as one of spiritual reverence and prayer. To complete the picture, the Buddha looks down, as if to acknowledge and welcome the devotee. The screen at the foot of the figure shows footage from the Taliban bombing of the Bamiyan Buddha in Afghanistan. In both cases, viewership is not passive or unengaged. The act of seeing here implies a much more physical activity; one can only look by assuming the position of religious follower. Moreover, the viewer is impeded from maintaining a full 360-degree view of the space s/he inhabits. In this way, the viewer becomes a figure for others to observe.