The hypocrisy of attitudes held towards pornography and prostitution in the nation are held up to light in this playful fantasy. The performer is semi-clad and rides an office chair across the visual frame, moving in profile and then in direct opposition to a hidden lens which documents her simulated ecstasy. She could as readily be attempting to ride across an office floor to go from station to station as to achieve an orgasm. In the white collar corporate towers which create for the visual horizon of metropolis in modern China, each desk and each worker act as a dysfunctional unit in light of the social prejudice and moral missives of the national agenda. The pervasive, if not epidemic, addiction and immense popularity of sexually explicit materials amongst the relatively new class of China is depicted with aversion and disgust by the majority of the population. Simultaneously, prostitution is widespread and prolific, yet while rarely publicly discussed, commonplace and tolerated with mute censure in most social circles. This synaptic vision of a woman acting in a bizarre fashion-unless an unknown individual or lens has focused on her- pokes fun and ridicules sexual fantasy and actual indulgence. Individuals whom spend hours confined to office cubicles locked onto computer stations interface and comment on infinite sources of illicit materials while publicly espousing their disdain for the same practice, and sexual hypocrisy echoes throughout. In a manner of speaking, "An Office Ride" is derisive while being sociologically concise, sexual fantasy and perverse voyeurism, are rampant in modern China, yet the work clearly demarcates moral hypocrisy rather than condemnation as being the substance of its artistic rendering. [Rajath Suri]