In this article, the British critic Rod Mengham reviews Doris Salcedo’s installation Neither (2004) in terms of the Colombian artist’s career, identifying significant changes in her work since 2002. Up until that point, Salcedo had produced installations of a ritual nature that referred to the ways in which violence affected the people and social fabric of her country. As pointed out by Mengham, after 2002 Salcedo worked with objects—such as seats (metaphors for human beings)—to create projects that were related to urban environments. Mengham reviews Noviembre 6 y 7 [November 6 and 7] (1993) and the work that Salcedo produced for the Istanbul Biennial (2003), associating them not just with Colombia but with the whole world, and contemplates them through the prism of “widowhood,” duration, commemoration, and anonymity. Mengham reviews Neither, describing the feelings it produces in the viewer, and mentioning the laborious and “inhuman” process involved in its production. He discusses the work in terms of what the chain-link fencing and plaster used to make it evoke in a viewer, and what those materials say about the current world: protection, incarceration, security, and exclusion. Mengham mentions the tension that exists between opacity and transparency in Salcedo’s work and associates it with Michel Foucault’s philosophical ideas concerning the control systems created in the nineteenth century, referring to Salcedo’s incomprehension when faced with her own work. The critic associates Neither with postmodern concepts of time and history.