Created during the artist’s residency at the Centre d’Action Culturelle in Montbéliard, France, in 1990, the piece is built on myriad statements recorded in video-booths set up by the artist on the streets of Moscow, Tokyo, Paris, Rio de Janeiro, New York and Dakar. Captured in medium shot in a booth, the video shows the collection of statements in a fragmented way, juxtaposing and superimposing languages and characters. Thus, it explores the tensions between anonymity and identity in a globalizing reality, building a sort of optimistic version of the Babel Tower legend. The video features elements that signify the artist’s concerns: in times of mass media, she investigates the characters that arise as regular people perform in front of the cameras. The soundtrack sets the pace and the meaning of the sequence of planes, alluding to Kogut’s prior inroads into the music video world; the dark set design neutralizes the location of the subjects, endowing their statements, gestures, and attitudes with the power to create and establish ambiences. This reveals the artist’s intention to confer autonomy and power over the video-making apparatus to the public, a feature that would later resurface in the author’s work as a television director, such as in the Brasil Legal series, aired on Rede Globo from 1995 to 1998.