The picture was taken in Vancouver, Wall’s hometown, yet it appears as though it is being observed through the eyes of an outsider or a tourist, invoking a sense of non-belonging. There is a discernible contrast between the city, illuminated on the horizon, and the man, who sits in the shade with mere flashes of light falling on him. His gaze pines for the city, yet his solitude and distance bespeak alienation. In an interview, Wall admitted that the photograph indeed invokes ambiguous feelings regarding the city – a familiar, home-like place, on the one hand, and a focal point of unhomely (unheimlich, uncanny) foreignness, on the other – two contradictory necessities.1