Kino-Eye (2007) was filmed against the backdrop of New York and Moscow using surveillance technology, and is an exploration of the physical experience of being spied on. This dance/investigation is about a woman who inhabits both the public and private spaces of these two cities. In some cases, the surveillance is accepted as flattery – the experience is titillating. In other situations, being watched incites a paranoid response. New York and Moscow – Cold War adversaries but contemporary compatriots in their mutual embrace of monitoring their citizens – serve as national focal points for people seeking fame and notoriety. As evidenced by the proliferation of gossip publications and reality programs, people want to be seen. Kino-Eye alludes to these cities’ shared histories of mistrust, paranoia, and covert activities; and speaks to the broader, contemporary mistrust these two respective countries have of those within their own borders.