The images in “Liquor, Lotto and Chinese Food” (2001-2004), which refers to the three cardinal sins in minority neighborhoods, were all shot within a two-block radius of my old Bed-Stuy apartment, and show the enduring presence of some of the locals as an exponent of both resilience and entrapment. Their humanity is subsumed by the geometry of the urban grid to highlight techniques of surveillance and dynamics of cognitive mapping. I loop visuals and sample beats to represent a fenced-in microcosm that never changes, yet my videos’ perspectival and dimensional changes open up a space that defies containment.