Edgar Allan Poe never saw the London of 1840 in which he set his short tale “The Man Of The Crowd.” Poe’s story about a man who secretly follows a stranger for twenty-four hours contains nothing recognizable of London. “A Man of the Crowd,” transposes Poe’s uncertain London to a more concrete present-day Vienna, a city that, for complex reasons, retains its 19th century plan and profile. The literary work becomes filmic; the dynamic found in the original story is complexified by the introduction of a film camera into Poe’s narrative, where it paradoxically becomes a central “character” operating in the peripheral vision of the other characters. The installation spatializes the symmetry, doubling, and self-reflexivity of the Poe story: a 16mm film using Poe’s tale as a template is projected through a small opening in the gallery wall into a freestanding two-way mirror. The glass, which echoes a café window from the story, reflects and doubles the image. The glass also reflects the viewer’s own image and creates a complex network of shadows while framing other spectators moving in the space. The seemingly sovereign observer becomes displaced and multiplied. Formerly stable dichotomies of subject-object are questioned through the direct experience of the viewer.