Kain is a performance mediated through an exhaustion of passport photographs. Totaling 1,192 4.5x3.5cm prints, the grid depicts the artist chewing a passport photograph of himself. The obliteration of the self is rendered visible, ironically, through the 1,191 images of the artist that precede it. The grid ends with, and is punctuated by, the chewed up passport photograph. Kain addresses notions of power by subverting modes of representation and performance. Co-opting, and ultimately undermining, a visual language that is imbued with authority (i.e. the passport photograph with regard to the State). The contradictory systems of power that work to shape the self are brought to the fore by activating the tools of domination as a means to critique it. Collapsing performance, the biometric surveillance apparatus of the State, indexical seriality, and text messages from the artist’s mother, Kain confronts the imperial histories of the apparatus of photography situated within larger, hegemonic systems by the State against the self.