The inclusion of Soul and Feelings of a Worker, Whitechapel version (1978) by KP Brehmer, an artist often associated with Capitalist Realism, makes explicit the role of mood regulation in the workplace. Magnifying the graphed data from a 1932 study of the emotions of workers to an almost human scale, the two canvases that comprise the work stretch across the exhibition wall, both nailed directly onto the plaster to be held in place and painted in a way that resembles Fortran punch cards. In front of this work, Julien Prévieux's What Shall We Do Next? (Sequence #1) (2006–2011) displays a set of cartoon hands cycling through a series of patented gestures used on touch screens. The work is displayed using an overhead projector in lieu of a digital one, exemplifying the pattern by which new technologies are integrated into the work place, and often forced into the hierarchies of a preexisting bureaucracy. Comparing the former work’s enlargement and the latter’s animated cartoon depiction, both pieces work with the scalability of users and employees, and in each piece's representation, the tactics become absurd in their reduction or privatization. Considering the divorce of emotions and of gesture from their subjects, these two works are suggestive of a management based on complete hyper-individuation, on one end to track and evaluate, and on the other, to replicate.