將(Ausencia)Die Abwesenden 的展場版本與劇場版本不一樣之處在於它失去了舞者只留下了織布表演者。當舞台失去原來與之配合的舞者時，它必須要能夠利用別的方式展現來取代舞者的位置。根據這點我想到了利 用觀眾的身體來取代舞者原來所扮演關於失蹤者」之身體的意象。我在展場製造的一面單面透光的觀景窗，用觀景窗分出兩個空間，分別為觀展區與表演區。此觀景窗有上下兩部分:觀眾在觀展區能透過窗戶上半部往表演區看，如同在美術館或博物館有時需要透過玻璃窗觀看作品的觀看方式 ; 而在表演區的觀眾則透過觀景窗的下半段看到觀展區觀眾的身體。這些在觀展區的觀眾，除了在進行一般展場的觀看之外，他們不經意但自然產生的，來來去去的身體則恰巧隱喻了那些失蹤者的身體。我試圖利用美術館觀眾在美術館的身體慣性，在其不知情的情況下，使其身體恰巧成為舞台畫面(物件)的一部份。而在此同時，觀眾在兩個房間移動過程中,擁有了各種不同的角度與身份觀看與參與此作品的可能性。
The difference between the exhibition version of (Ausencia) Die Abwesende and the theater version is that it lost the dancers and left with only the wavering performer.
In this version, I used the bodies of the other (unsuspecting) audiences to replace the dancers–they became the image of the varnished bodies. To achieve this, I built a display window and created two spaces: the exhibition area and the performance area.
The translucent, one-way foil divided the display window into two parts: upper and lower. The audience in the exhibition area can watch the ‚performance‘ through the upper part, like in art museums, how one sometimes view artworks through glass windows. The audience in the performance area can see the bodies in the other room through the lower part of the windows. The bodies of the coming and leaving audience in the exhibition area inadvertently played the roles of the missing bodies–the central concept of the piece. I took advantage of the habit of art-viewing in museums: the audience had no expectation and no instructions to be part of a stage, nor to perform. At the same time, they had many possibilities to move between the two rooms, to take different perspectives and participate in the work.