At the start of Hussein Chalayan’s video installation place to passage, 2003, a small, futuristic vehicle zips down the ramp of a deserted London underground parking garage, hovering just above the pavement. The vehicle’s sole occupant is a thin, lithe woman wearing a white unitard and skullcap. Traveling from London to Istanbul at hyperspeed, she eats, meditates, and rests, the pod providing her with nourishment and waste disposal. En route she passes through a bleak wintry landscape and an equally dismal urban environment dominated by billboards. At the end of her trip she whisks exhilaratingly