Plischke and the architecture of suspicion.
6–24 August
Natalie Guy’s new body of work explores the enduring relationship between modernist architecture, surveillance, and the uneasy act of looking. Centred on the Khan House (1941) in Pōneke, Wellington—a modernist home once caught up in wartime accusations of espionage—the exhibition examines how architecture can become a site of suspicion, voyeurism, and projection, where buildings themselves are implicated in stories of secrecy and distrust.
Featured artwork: Surveillance (harbour #2)
