Contemporary Korean artist Haegue Yang (b. 1971) has gained international recognition over the last decade for her large-scale installations incorporating custom made Venetian blinds. Often incorporating other sensory elements — from standing fans to scent emitters — and frequently referencing repressed moments in twentieth-century literary and political history, these works have been understood as poised on an unstable boundary between narrative and abstraction. But what have been their determinants, both sociopolitical and aesthetic? This question has so far remained unexplored. To locate them between desire and power, between the unfinished project of modernity and its overcoming, between the history of geometric abstraction and its exhaustion — those are the aims of this amphibological reading of Yang’s extraordinary work.