James Guerts recent show at the Experimental Art Foundation in Adelaide is described through this article to have induced an almost trance-like state from the arrangement of the four square light boxes, depicting scenes from four sites of interception to the four large digital projections humming with visual and auditory stimuli. The focus of this text is on Guerts remarkable journey to the four corners of the globe. The corners are literally represented by smallish triangle objects of inner lit plastic photographed and composed to construct a full form of the globe. The way they are presented, as foreign objects in the landscape, raise questions about the way the west relates to the wider world. In the particular settings Guerts has used, all being sites on or near the sea, the corners are impositions, objects at odds with the surrounding environments. This is enforced as a reminder about the extent that the West continues to impose its will on even the most remote communities.