Toronto sculptor Colette Whiten has long been committed to exploring power and political relationships. For several years in the 1990s, much of Whiten’s work focused on the representation of anonymous women in the media—women seen waiting to vote, protesting in the streets or bearing arms against oppressors. Vows Vengeance (1993–1995) derives its imagery from a news story about Abkhazian women mourning their partners, soldiers killed at war. In carefully translating an otherwise fleeting news photograph into a concrete object—here, a meticulous beaded curtain—Whiten changes the terms on which we consider the image. Photo: Toni Hafkenscheid.