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On the day that martial law was declared in China, video artist Shu Lea Cheang decided to go and see the situation for herself. 'By then you'd seen so much broadcast: people seemed so up in China, like in the 60s [in the US], and you sensed it was an historical moment; I wanted to be there.' Nan Levinson interviewed her

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The title of Shu Lea Cheang’s 3x3x6 which represented Taiwan at Venice Biennale 2019 derives from the 21st century high-security prison cell measured in 9 square meter and equipped with 6 surveillance cameras. As an immersive installation, 3x3x6 is comprised of multiple interfaces to reflect on the construction of sexual subjectivity by technologies of confinement and control, from physical incarceration to the omnipresent surveillance systems of contemporary society, from Jeremy Bentham’s panopticon conceptualized in 1791 to China’s Sharp Eyes that boasts 200 million surveillance cameras with facial recognition capacity for its 1.4 billion population. By employing strategic and technical interventions, 3x3x6 investigates 10 criminal cases in which the prisoners across time and space are incarcerated for sexual provocation and gender affirmation. The exhibition constructs collective counter-accounts of sexuality where trans punk fiction, queer, and anti-colonial imaginations hacks the operating system of the history of sexual subjection. This Image and Text piece intersperses images from the exhibition with handout texts written by curator Paul B. Preciado (against a grey background), as well as an interview between special section co-editor Paula Gardner and the artist that brings the extraordinary exhibition into further conversation with feminist technoscience scholarship. The project website is available at https://3x3x6-v2.webflow.io/.