This project reconsiders the conditions through which theatre operates – the gaze and the body, censorship and power. The Gwangju Theatre once contained the Imgeomseok (inspection seat), where film censorship was carried out during the Japanese colonial period. In Jang’s site-specific work, it is understood not simply as a cinema, but as a space functioning as an apparatus that organises both images and vision, determining what becomes visible and what remains subject to control. Rather than locating this installation within the central space of the screening hall, the work reveals it through a peripheral space – the men’s restroom. The restroom is not separate from the cinematic experience but may instead be understood as a place where the body becomes visible again within a public environment, while simultaneously becoming aware of the presence of others and the operation of self-discipline. Across the tiled walls of the men’s restroom, various images of eye are applied. These flat and diagrammatic forms may initially appear as decorative repetitions, yet they operate as a subtle visual intervention that exposes the latent tension of the gaze already embedded within the space. The eyes appear as signs of surveillance, permeating the theatre beyond the restroom, and turning the theatre into a field of vision.