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on a background wall, surrounded by previous “excellent works”. In this way, a sign for the multimedia display tells us, “You could become one of the designers of a future city”. In Shanghai’s own pavilion at Expo 2010 the “Shanghai forever” image wall, consisting of revolving triangles and more than 15000 photographs featuring Shanghai, is a product of “mass participation and joint creation” (．．．．．．．．．) intended to expound the “design conception of ‘New horizons forever’” (or in Chinese “Shanghai eternally marches towards a new horizon”, ．．．．．．．．．). Images of images are everywhere and we can be their creators.Nonetheless, in subjecting the world/fair to our gazeand our actions, we aresimultaneously subjected by it. Our bodies are not only in the world/fair, they are the world fair, as the fair is our bodies, simultaneously watching and watched, displaying and displayed.Often our recognition as participants rests on our willingness to take on specific subject positions – tellingly, the English title of the pavilion for popular participation is “Citizens’ initiative pavilion”, interpellating us as citizens of the mapped state system on display. It is through such citizenship that we are allowed recognition in the world/fair. Indeed, the different layers of simulacra share citizenship regimes as a key feature, invoked through the passport. At previous world fairs, at the Shanghai Expo, and at the online version of Expo 2010 we can have a passport in which we collect “visa stamps” from the pavilions visited. At points, we have to actively change ourselves to make us acceptable as subjects in order to have our fair share. Passing through the world/fair we are screened and tested. This screening echoes for the subject/object dichotomy (the who) the collapse we saw in previous sections of the here/there (the where) and the now/then (the when). As Richard Lane has observed with regards to Baudrillard: there is an interpenetration of the screen metaphor with the notion of everything being on the surface here, including the‘friendly’ surveillance which simultaneously shows the people under surveillance on television screens, which leads to a collapsing of perspectival space (the removal of the ‘gap’ or distance both spatially and temporally between the viewer and the viewed) (Lane, 2000: 42). Here interpenetration is total, including of architectural and geographical space. The layers of simulacra cannot be separated. All of Expo 2010, the Shanghai Expo and its virtual replica, Shanghai, China, all of the world/fair are indistinguishable “as a total functional screen of activities” (Baudrillard, 1994 : 76). In this way all of the world/fair operates through screening, in every sense of the word. The example above of the excluded travel guide moreover exemplifies how our participation in the citizenship regimes of the world/fair is conditional – she was stopped at the border because she had not paid the fare. Indeed, the world/fair is most helpful in persuading us that we can (and should) adjust our selves to pass its screening. In a book dedicated to Expo etiquette