In Orientation I: Bicycle Tracks, the artist (by means of her bicycle and a GPS recorder) simultaneously becomes stylus and draughtsman, subject and object. These dualities reflect a simultaneous vision: the present city of the artist's actuality, and the absent city of the artist's past, where she first learned to orient herself amid the tide of bicycles of her Beijing childhood. In Bicycle Tracks, these visions fuse in an abstraction of simultaneous referents.