This work goes beyond Casa Luis Barragán: it occupies a neighboring façade’s second-floor window into the community complex opposite of Barragán’s home. The window can be seen from inside Casa Luis Barragán’s guest bedroom and from the study that overlooks the library. This intervention underscores the border between the inside and outside. Indeed, Casa Luis Barragán is separate from neighboring buildings and involves a certain degree of seclusion. The artist purchased leftover fabric that was once specifically imported to be used in the Archbishop’s Palace in Nicosia, Cyprus. Notions of power, ornament, and religion thus appear hand in hand. In the Tacubaya neighborhood where Casa Luis Barragán is located, class di erences are palpable. Panayiotou directs the visitor’s gaze to the outside, to the neighbor’s window, where the fabric keeps us from seeing anything inside while having a usually interior layer performing for the outside.