and emotional closeness.'" Measures of Distance was screened at the London Film Festival, AFI National Video Festival, and the Montreal Women's Film and Video Festival. Grater Divide Made in 2002, Grater Divide transforms an everyday object, in this case a common kitchen grater, into a divider, alluding to political alienation, perhaps caused by Israeli-built walls in Palestinian territory. Hot Spot III Hot Spot III, created in 2009, is a large installation piece of the globe tilted like the Earth and about as tall as a person. The title connects to the theme of political unrest, imagining conflict in one geographical area upsetting the whole world. The globe is made of cage-like steel that glows luminescent red, as though the world is ablaze, flickering quickly, meant to create an energetic environment that mesmerizes the audience. The installation also invokes a feeling of danger with the hot red lighting outlining the continents. Hatoum challenges whether minimalist or surrealist forms can adequately address the world's issues. Later work In the late 1980s, Hatoum abandoned performances as politically too direct and instead turned her attention to installations and objects, taking up some of the earlier ideas from her student days at the Slade School of Art in London. From then on, she relied on the kind of interactivity that lets the spectator become involved in the aesthetic experience without making the artist as performer the focus of attention. Since the 1990s, her work has generally shifted from making statements to asking questions. Much more is required of the viewer as performances were replaced by sculptures and installations that required a level of mental and physical interactivity. Her practice has shifted towards site specificity in, for instance, Institute of Contemporary Art, Boston, and Kunsthalle Hamburg. A notable piece exemplifying her turn from performance to physical objects is Keffieh (1993–1999), a scarf woven of human hair that juxtaposes ideas of femininity and religion. At the end of the 1980s, she began to focus on common domestic objects—including kitchen utensils and house furnishings. T42 (1993–98) is a pair of teacups fused together at the rim. The body Many of Hatoum's early pieces situate the body as the locus of a network of concerns—political, feminist, and linguistic—thereby eliciting a highly visceral response. One of her pieces, a 1994 video installation called Corps etranger, showed color video images of an endoscopic probe of her body. Corps etranger was originally