At the beginning of his artistic career Krzysztof Wodiczko pursued a kind of art work that involved the projection of images onto gallery walls, working with the particular architecture of the venue. Settling in New York City in 1983, his art eventually took the form of large-scale projections, usually onto major public buildings, with a very specific political comment in mind. His works have involved projections in over a dozen countries, and have included a three-piece corporate suit onto the Bank of Montréal Tower in Halifax, Nova Scotia (1981), a nuclear missile onto a nineteenth-century columnar military tribute in Stuttgart, West Germany (1983), a Swastika on the South African Embassy in London, England (1985), and a gigantic eye projected onto the pediment of the Swiss Parliament building in Bern (1985). Commenting on this kind of work he wrote: "Only physical, public projection of the myth on the physical body of the myth (projection of myth on myth) can successfully demythify the myth. The look, the appearance, the costume, the mask of the building is the most valuable and expensive investment. In the power discourse of the "public" domain, the architectural form is the most secret and protected property. Public Projection involves questioning both the function and the ownership of this property" (1983). Wodiczko has also taken his art into galleries, and collaborated on public intervention pieces such as an exhibition with Jana Sterbak called The Homeless Projection: A Proposal for the City of New York (1986). This involved reflecting images of the homeless onto public buildings, echoing the reality of homeless life on an enormous scale by placing people back onto the architecture that defines their space every day. In 1988 Wodiczko created the Homeless Vehicle, a mobile shelter based on a shopping cart. He created two pieces concerned with the issue of immigration and communication, in 1992 devising Alien Staff, and in 1994, Mouthpiece. Mouthpiece was a work that fit onto a person's mouth and spouted pre-recorded speech, denying the real act of communication to the wearer. In Alien Staff, the artist created a kind of walking stick, to be carried by the immigrant, which is also a clear container housing valuable papers such as work visas, green cards, etc. Both of these works are part of an ongoing exploration of the immigrant experience, and were shown together in 1997 as Xenology: Immigrant Instruments 1992-1996. Wodiczko has also worked with immigrant teens, interviewing groups in Canadian schools in preparation for his participation in Calgary's ArtWeek '97. As well as commenting on the nature of government and various political regimes, Wodiczko also uses these pieces to address the issue of public art versus private art. He has written extensively on these concerns in magazines such as Assemblage, October, Dia Foundation, Discussions on Contemporary Culture, and Canadian Journal of Political and Social Theory. Wodiczko taught at the Warsaw Polytechnic until 1977, when he emigrated to Canada and at the University of Guelph (1977), the Ontario College of Art in Toronto (1979), and the Nova Scotia College of Art and Design in Halifax, Nova Scotia (1977-81). In 1991 he began teaching at the Massachusetts Institute of Technology in Boston, and since 1994 has been the Director of the Center for Advanced Visual Studies there.