S&F: Can you talk about the technology you used to create VertiGhost?

LHL: It’s so easy. It starts with going into the gallery room, because everything is identical [to when Hitchcock filmed there in 1958]. In a corner of the gallery, I put a mirror with a value sign on it that reflects a manikin with Madeleine’s clothes on it. The whole installation is about mirroring, value, artificiality, and twins. You sit down on a bench in front of my version of the Carlotta painting, which I blurred because it was more interesting, like blurring the truth of surveillance. Hidden in flowers [on the bench] is a 3D printed sensor that looks like a leaf…