To begin this artwork, I conducted interviews to 31 Berliners ranging in age from 6 – 86. I asked questions about which animal that they believe that are hidden inside them and how they would give energy in 2007. Afterwards, I portrayed their animals as masks made of paper. Yee photographed the interviewees who re-enacted healing movements of their animals. Based on these photographs, we created 31 stop motion video clips that was projected as apparitions in the night sky in Berlin, on the GASOMETER Tower Screen, a 700 square meter multimedia screen, which was viewed by 300 opening guests and passersby and residents of a few thousands in the area. In 2020, I sought to improve the exhibition format in order to communicate processes that were imperative to this artwork. I elicit fantasies of people as animals and how their imagined animal powers would guide them regenerate and heal from their daily urban lives. I wanted to replace commercials, that were projected on the digital screen (billboard) with images and motions of healing animals enacted by residents. I examined how to present transcriptions of interviews, sketches made by my interviewees, together with video clips and photographic portraits of my interviewees. This was an important process, as this artwork in the second and third exhibition spaces (away from the original site) was always perceived as animal mask sculptures that I designed.