In her paintings, Sarah Morris offers visual experiences of contemporary urbanity. The video Dulles (Capital), 2001, subjected the façades of buildings in Washington representing the city’s power and prosperity as well as the omnipresent surveillance system. Dulles shows a detail from the façade of the airport in the North American capital. Morris’s paintings are based on video stills and photographs taken by the artist, then she manipulates them on a computer to produce grid-like model images. The grid is applied to a monochrome ground and then taped over, and finally ‘colored in’ parcel by parcel. As processed and abstracted in this way, the icons of power become entertaining images, and the transitions between politics – art – entertainment are blurred.