The problem of how to adapt to a rapidly changing social and cultural environment while conserving traditional ideas and values are central to this artwork. The perceptions of all sections of society living in Kuwait regarding these changes is a central aspect of the framework used to reflect the effects of globalization. The initial interviews highlighted the widely differing views of different sections of the society. Apart from the desert installation, which was deliberately created to reflect its barren isolation and contrast it with the modern city. The dishdasha represents male presence, tradition and the reality of how men are present in the landscape. The dishdasha also represents by its very presence, the absence of women, like negative space. Men’s outward occupation forces women’s inward occupation. Women are present only in the care and labor performed for men, the dishdasha shows this through its cleanliness, it’s repairs, it’s ironed surface. Women’s presence is marked by their absence. Male spaces in this work are open, signaled by the dishdasha’s presence in the infinite desert scape, marked by no boundaries. Women are absent in the vast infinite possibility of that landscape, forced into small, contained spaces, houses and buildings, their labor defined by the walls they reside with In.