A Theory of Gifts examines surveillance technologies, while placed within the frames of theater and performance. The material operations of theatre and surveillance reveal a strategic display of certain bodies and objects in space, while other elements are veiled. To document surveillance is to document its consequent punishment, the pervasiveness of the hidden pleasures of surveillance and controlled spaces, "implying that we should eat myself, together". There is areimagination of the dominant gaze in surveillance while using objects to guide the viewer through space, unearthing "the commerce of the creative spirit", a "pathetic surrender to two experiments in gift aesthetics".