The “(being) role-played” identity has become a key feature of today’s social media. The artist re-drew fragments of thirty classic cartoon characters—their raised arms—formally appropriating Annette Lemieux’s seminal street-political work Left Right Left Right (1995). These protest placards and the cluster of cartoon fists raised upward seem to stage an act of resistance and accusation, installed against a blue-screen backdrop—an ambiguous downgraded square with no clear target of demonstration.