Methods of Art shows the artist, Angela Su, in a reconstruction of an abduction. An anonymous man, wearing a panda mask, forcibly pulls her through a street toward a small building. The artist is tied and she struggles. At one point collapsing as her legs give in, either in resistance or through fatigue and discomfort. The man brings her into a house and plants her on a couch in front of the camera. We now see her address the screen directly. Her mouth is duct-taped, and her hands are tied, but she continues through a forced confession, apologizing for ‘all the uninteresting art she has made’. Her mumbling and inaudible contrition, under duress, are captioned. This self-effacing gesture, which trades on a knowing nod to her own failings and the common grievances of audiences, underscores the ubiquitous critiques present in the circuits of production and reception. In a culture of snitching and denunciation, Su’s gestures can be interpreted as a pre-emptive move to shield oneself against potential accusations.