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At the heart of it, Mara discovered, was an ethos: reclaiming the animal within the urban. The art of zoo wasn’t literal cages and bars but the architecture of attention—how markets, feeds, and algorithms corralled humans into predictable pens. The Vixen project created pockets of misbehavior, an invitation to be feral for an hour: a midnight picnic in a museum atrium, flash readings of found texts under a highway overpass, a parade of masks stitched from discarded headphones and shopping bags. “Double trouble” became a tactic: every installation had a twin, a mirrored companion placed across town. Visit one, and you’d find a camera that recorded you—then, hours later, at its twin location, you’d see your presence rebroadcast back to you in altered form: a slowed, inverted silhouette, your laughter rearranged into new words.