Slavoj Žižek most recently told an anecdote that could easily pass as just another urban legend: a Slovenian friend of his had to return to his office late one evening when he saw a married CEO in an office in the neighbouring building making love to his secretary on a desk. The two were so passionate that they didn't even realize that there was another building from which they could be seen. Žižek's friend called over and when the CEO picked up the phone the friend said: 'God is watching you!' The poor man almost collapsed.¹

Just like Julie Becker's work this story is not about the surface structure of the really real but instead leads us to the very core of a psychoanalytical interpretation of the power of imagination (among other things). In 1996, and after three years of work, Becker had completed a project (which she considers to be a part of an ongoing process!)² entitled Researchers, Residents, a Place to Rest. The project was made up of three parts. First, after entering the exhibition space, there was a waiting room. From there you proceeded into a second area in which two model-like structures were presented raised slightly off the floor. In addition to the models a number of cardboard refrigerator boxes were in what could be called the central space of the installation. The third scenario³ was a room that Julie Becker calls an 'obsessive workshop, storage or resource library'.⁴

The waiting room - one might think of a hotel, a train station, an airport, a