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Other works reflect overtly political concerns shaped in part by Cantor’s experience in his native Romania. The Landscape is Changing ( 2003 ) depicts demonstrators marching in silence through the Albanian capital of Tirana, while brandishing blank mirrors in lieu of slogans. In the brochure accompanying the installation, critic T. J. Demos suggests that these images provoke a “visual confusion during those moments when viewpoint is lost within a labyrinth of mirror images, eroding the distinction between reality and representation.” In Dead Time ( 2003 ), Thai taxi drivers kick a ball to one another while waiting to ferry tourists around town, underscoring the divide between a global tourist industry and service workers who make it possible. While Cantor’s treatment often blurs narrative, his use of multi-sensory techniques frequently amplifies the emotional resonance of his works, investing them with a cumulative foreboding.
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