The man appears in front of the building, where the art public walks by to enter the show. He begins to unroll red-and-white caution tape, routinely used to block of areas that represent a danger for the public. He knots the end of that tape to a tree or some lamppost. With fierce determination - or is it resigned repetition?
He screens off an area. First he blocks off the busiest path that leads to the building. Then, he begins a somewhat longer walk to other parts of that area. He attaches the tape to a tree there, and then returns. His walk is steady, remains faster than “normal,” and his face remains unreadable. He does not respond to queries about what he is doing. He is himself inside the space he is creating. Everyone else is kept out. If this is about work, he can be surmised to be doing the road work; a typical job for a migrant, at the bottom of the social ladder. But something is amiss in this interpretation, in spite of the likeliness of it to occur to the bystanders. The assault to the sense of security that emanates from the arbitrariness of this action represents the opposite of the security this tape is normally representing.
Instead of protecting the people from accidents, it pushes them out of the space is challenged.