In this artwork, the barbed wires serve as a powerful reminder of the final stages of the three-decade-long war, particularly the existence of Menik Farm, a camp for internally displaced individuals. Through the symbolism of barbed wire, the artist highlights the stark division between people from Sinhala and non-Sinhala communities that has defined the politics of the island. The artist comments on the prolonged existence of the camp that had led to the normalization of its presence.

Embedded within the artwork is a profound critique of the conflict and the enduring marginalization experienced by non-Sinhala Buddhist communities. The piece poignantly encapsulates a spectrum of unresolved grievances, inviting viewers to confront the complexities and injustices of the war's aftermath.

The artist plays on the title in a Magrittean style to emphasis on the viewer that they need to look beyond what is apparen - to read between the lines and question their sociopolitical truths.