What I would like to propose is an installation that repeats the themes of the WAWKALAK project I made in 2016. It would be comprised of material and visual traces of the original piece, which have become works in their own right. These consist in three main sculptural forms (A Door for Paul Celan, Black Square Icon and Signature Paper) and a set of five large framed silver gelatin prints (Thresholds I-V). The sculptural objects are actual remnants from the performance; the photographs are records of the wallpaintings made during it. The Door and Icon would be set in the centre of a space, the Paper strewn through it, and the Thresholds framed and hung from the walls. WAWKALAK was about borderlands, persecution, political and social violence: the 'current state' in both its abstract and national significance. At the same time, the installation after the event raises questions about the nature of performativity, of record, and of the way in which an artwork 'happens.' The effect would be to create an image of a past event, to summon its ghosts, and to allow its remnants to stand in silent testament to themselves.