Liu Chuang’s latest work, Segmented Landscape (2014), consists of six metal window grilles, each bearing a distinct geometric pattern. Installed above visitors’ heads in the main hall of the Power Station of Art, the venue for the 10th Shanghai Biennale, it is lit by spotlights while an artiȷcial breeze causes pieces of white gauze, hanging like curtains behind each grille, to shift gently. The shadows cast by the grilles appear as patterns transposed onto the fabric. The overall eȴect is of a series of photograms, which seems ȷtting since the work is, to some extent, a snapshot of China in the late 1980s and early ’90s, when such window guards suddenly began appearing on houses and apartments across the country. At that time, they could be seen as a visual reminder of China’s burgeoning prosperity; here, they seem a quiet lament to the individualization that has been a by-product of economic growth.