What happens when the audience is confronted with the real-life object of exploitation rather than just an image? Through this presentation, what does one feel compelled to do? Touch? This is what Regina Jose Galindo is questioning of the audience. The female body has been stolen by artists, media and privileged genders to the point society teaches young girls that their worth is solely based on their looks as compared to society’s standard. Galindo is protesting the idea of women seen as objects for consumption, especially in the art world, but to do this, she puts forth her own body as the object of that very same consumption. The audience is faced with the notion that the paintings of naked women in galleries were also living breathing women just like Galindo. In this sense, she is pushing visitors to ask themselves if they would gawk at her the same way they gawk at the way media presents her. The caveat is that this analysis would be true for a room of people who are not blind, however; the gallery this performance showcased in was only for the blind. In this way, seeing becomes touch and a way for navigating this space. It forces the onlookers to question whether or not the audience needs the ability to see Galindo in order to understand the dissensus that those with sight might be experiencing.