Filmmaker Thirza Cuthand uses a latent gas mask fetish as a jumping off point for looking at her role as a participant in the Whitney Biennial during a contentious year for the museum which had a war profiteer on the board. Faced with calls to withdraw, Cuthand talks about the considerations she had for trying to come up with a way to protest while also being implicated in board member Warren Kander’s artwashing, whose wealth is among other things based on the production of tear gas. Using the gas mask as a potential protest image, she also discusses visiting Chemical Valley, a site in southern Ontario where 40% of Canada’s petrochemical industry lies, and how her visit also left her implicated in artwashing petrochemical money.