In this early recorded performance work, a young Ken Lum, over the course of four days, stood on the east side of TransCanada Highway watching the morning rush hour traffic race past. On the fifth day he replaced himself with a cardboard cut out. This would become a recurring theme in Lum's work—subtly transforming everyday, often overlooked objects, that require the audience to do a double take. Often his works ask the viewer to become aware of class, race, gender, social issues that we have become complacent about or that become twisted and downplayed in our captilist society.
“We grew up very poor, and my mother didn’t speak any English. My mother worked in a sweatshop, even though she was highly educated. And, so, I remember just saying—you know because my mother is coming home very late and so on, and she was getting sick—just saying to myself, I need to, you know, I need to help you transcend the situation. I mean it didn’t work that way, but it was basically the gist of my thoughts at that time. So, I remember developing a very keen sense of consciousness, of the rules of the world, I suppose: who are the winners, who are the losers.”