produced for Centre Georges Pompidou and features a partially enclosed, cylindrical structure that viewers are called to enter. The viewer stands on a circular plate of glass, and video close-up images of internal and external parts of the artist's body. The artist hails the viewer to "walk around" the inside of her body through the visual sequence taken on the endoscope and colonoscope, scanning and probing her digestive system. The audio is a recording of a heartbeat and bodily movements. The artwork of Hatoum investigates the concept of the 'abjection' introduced by the cultural theorist, Julia Kristeva and the uncanny in her works using body hair. Politics The political possibilities for the uncanny visual motif are relevant to discussions of Hatoum's work, as the disruption achieved at a psychological level can have broad implications involving power, politics, or individual concerns. The allusiveness attained by her work is not always referencing grand political events, or appealing to a generalized cultural consciousness, but instead to a seemingly unattainable threat that is only possible to address on an individual scale. Hatoum has tied her works to other political movements, especially black struggle. In an interview with Michael Archer in 1997, Hatoum said: "At the beginning it was important to think about the black struggle as a total political struggle. There are common political forces and attitudes that discriminate against people. In the same way as feminism started off with this totalizing concept of 'sisterhood', and then we ended up with many feminisms, if you like. The black struggle became more diversified once the basic issues were established. And blackness here is not to do with the colour of your skin but a political stance." Exhibitions Since 1983, Mona Hatoum has been displaying both her installations and her video performance art pieces in exhibitions around the world. She has been featured in individual exhibitions as recently as 2018 at White Cube in Hong Kong. Some of her other solo exhibitions of note include: Centre Pompidou, Paris (1994), Museum of Contemporary Art, Chicago (1997), The New Museum of Contemporary Art, New York (1998), Castello di Rivoli, Turin (1999), Tate Britain, London (2000), Hamburger Kunsthalle, Kunstmuseum Bonn, Magasin 3, Stockholm (2004) and Museum of Contemporary Art, Sydney (2005), Parasol Unit, London (2008), Darat Al Funun, Jordan (2008), Fondazione Querini Stampalia, Venice (2009), Beirut Art Center (2010), and the Menil Collection (2017). She has also participated in