In Window Tate we see the artist sitting in a room with a window behind him. Our view through the window is of the slope down into Tate Modern with the Frida Kahlo banners hanging above the entrance. And again the gentle play on artistic projection sets us following Devlin, whose figure we see through the window approaching the entrance. We watch while the action takes place behind his seated figure: he remains sitting, and behind him he walks purposefully down the ramp to the entrance as if recessed in his own mind, the thought seen simultaneously with the action. Then as with a blink, the name on the banner changes for a second or less to Daniel Devlin before returning to Kahlo as he himself turns to walk back up the ramp, back to and through the window.