Sheba discovered Itbari Lal Khan, a carpenter employed in the same shed in the early days of Modinagar when the doors and windows of the Modi houses and factories were being constructed. She made photo portraits of Itbari and his colleagues, who had lost their jobs. These were transferred onto transparent lith film in multiples. The coal black faces were layered onto the centrally framed horizontal mirror (a fantasy landscape with a reclining Veena-playing apsra – a kitchy nayika from the Todi ragamala). This seductive/reflective source of light was concealed by the rogue’s gallery. The debris from the shed was projected on to this above the mantle shelf. Below, the giant machine was projected from the floor tangentially – into the fire – place, its grey and pink marble border holding the white fluff. On the way it illuminated the cupped cut hands of Itbari holding his identity card, reminding us of the story of the building of the Taj Mahal and the fate of the artisans.