Dahlberg's sets are architectural models, built to a circular plan, and filmed with a centrally positioned rotating camera--hence the seamless continuity of the installation's footage. What seem to be tracking shots are really ten-minute, 360-degree pans, describing loci that inevitably read as nodes in a labyrinth--a subtly scary one, since its vertical and horizontal extension implies the impossibility of finding an external vantage point. Taking the panopticon as its starring point, Dahlberg's investigation suggests a psychoanalytic appropriation of the panoptic model, revealing the surveying self as itself both self-surveying and vulnerable to surveillance. Might there be hiders in the house, unseen presences behind those half-closed doors and darkened entrances? The camera's full-circle pan becomes readable as a paranoid attempt to watch one's own back.