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A youth couched in music videos, it was a pleasure, and Leckey understood the potential of its seduction. If Fiorucci experimented with the pop address as upload into the viewer, the hypnosis of spectation, then “Shades of Destructors” 5 years later was an experiment of what could be done once inside, and everything since about what it means to place an object inside another’s head and the possibility of that inside an object’s. The states of reality, virtual, image, filmic, object find their superposition between phase shifts, and Leckey moves us between all with a deftness. If Sturtevant’s interest in film/video was its capability for dissociative fugues and blackouts, Leckey’s interest is the possibility of a plasmaticness and production within it, a velvet couch where Leckey is the dentist administering gases of mildly psychoactive potential.