In this critically informed essay, Robertson presents a two-fold argument. First, that artistic productions focusing solely on vision "...represent a struggle to control the power of the gaze rather than to subvert it." Second, Robertson argues that modern surveillance has become less about looking and seeing and more about the acquisition of data thus requiring artistic approaches to expand their consideration accordingly. Artists such as Denis Beaubois, Steve Mann, Sophie Calle, Coco Fusco, Wafaa Bilal, and Janet Cardiff are discussed within the context of observation, surveillance, sousveillance; the body of those who look versus the body of those being looked at and how to reverse the gaze of power.