This cycle comprises High Moon, New York (1991); El Reio de la Luna, Barcelona (1992); Spirit di Madreperla, Naples (2002). For the 1992 Olympics in Barcelona, Horn was commissioned to create the steel sculpture L'Estel Ferit. Many Horn works also explore ambiguities in the idea of lenses. One would think that a large tinted lens exists for protection and cover, but it also has the effect of drawing attention to the person or figure behind it. The paradox of looking out and looking back is explored in her installation piece for Taipei 101, Dialogue between Yin and Yang (2002). The work sets up interactions between viewers, environment and sculpture as it uses binoculars and mirrors to suggest the passive and active energies. Film In what amounted to over ten years of life in New York, Horn undertook the production of highly narrative, full-length films, and incorporated the sculptures and movements from her earlier work into this new context of film, transforming their significance. Horn made her first feature-length film in 1978, Der Eintänzer, about a young man named Max, a blind man, and twins. Later films include La Ferdinanda: Sonata for a Medici Villa, and Buster's Bedroom. La Ferdinanda is in German; the other films are in English. In all of these films Horn's obsession with the imperfect body and the balance between figure and objects is apparent. She has also collaborated with Jannis Kounellis and produced some films, including the film Buster's Bedroom (1990) which was shot by the Academy Award-winning Sven Nykvist and stars Donald Sutherland, Geraldine Chaplin, and Martin Wuttke. For Buster’s Bedroom und Roussel, she collaborated with German writer Martin Mosebach on the respective screenplays. A number of Horn’s mechanised sculptures appear in her films, notably The Feathered Prison Fan (1978)—covered in large overlapping fans that is big enough to enclose an adult inside—in Der Eintänzer and The Peacock Machine (1979–80), another sculpture that folds and unfolds beautiful white peacock plumage in La Ferdinanda. Other projects Rebecca Horn is the subject of a book entitled The Glance of Infinity. In 2008 and 2009, Japanese artist Masanori Handa was mentored by Horn as part of the Rolex Mentor and Protégé Arts Initiative. Exhibitions When Harald Szeemann invited Rebecca Horn to participate in the 1972 Documenta in Kassel, she was a virtually unknown twenty-eight-year-old artist. Sigmar Polke had performed in her piece Simon Sigmar in 1971, and it