Nandi is cornered and enclosed in a tomblike structure, trapped in a room of tiny cinderblocks (reminiscent of the basement of the museum where I had my studio when I made this piece). Each cinderblock is “decorated” with a motif in the form of his testicles. The bull is not visible until the viewer walks around and into the corner to face the back of Nandi. Both tombs and museums embalm their contents enforcing a notion of a need to protect. One justification for removing artefacts from other countries is that they can not properly be cared for in their place of origin. This need to protect corresponds to an unsexing, a taking of power. This piece frontalizes and giganticizes the bull’s sexuality which is a metaphor for empowering it. It also attempts to reestablish the way it would be approached in its original context—that is, from behind.