Undercurrents, presented at the Seoul Biennale of Architecture in 2021, was an installation made with air-conditioning shafts, in which five screens surround the viewer with live-streaming video feeds from cameras attached to machines in nearby workshops. The exhibition was set in a manufacturing area of Seoul crowded with small family-owned workshops where metalwork, electronics, woodwork, printing, and other manual labour is conducted. Currently, this area is undergoing heavy gentrification. It is cheaper to order materials online from remote warehouses. The workshops are being pushed out and replaced by hotels, entertainment facilities, and finance offices. During working hours, Undercurrents provided a live ‘mapping’ of the labor conducted in the neighborhood. The intermingling of machine sounds, the oversized hands visible on the screens and the machine-made movements made the images strange. The workshops visible in the installation are among those being pushed out of the area due to new remote technologies. I was interested in making the invisibility of this gentrification process visible through the same remote technologies that enabled it. Rather than documenting or narrating the inequalities that are played out in this specific situation, I was interested in symbolically ‘rerouting’ an infrastructure that plays a key part in the gentrifying process. By bringing a series of distributed actions made by machines and human hands together in an installation, a change of scale made an ongoing process visible that otherwise would have remained unseen.