Asmudjo's multimedia installation work is a dark 'theater' with four statues acting as its main actors. The dilemmatic configuration of this work is presented through figures pointing, hanging in the air or collapsed on their backs. The four of them appear as male figures, whose postures are ideal but stiff and with straight gazes like ghosts. These figures are assumed to be in a patriarchal space/system. The term patriarchy refers to an ideology that legitimizes male dominance in various areas of life, from women's reproductive issues to natural resources and the economy. Patriarchal ideology is also manifested in the patriarchal kinship system that establishes lineage through father-son relations. Family, religion and law are the main pillars in the patriarchal system. The patriarchal system is often seen as 'universal' and closely related to capitalism.

The material identity of each statue signifies a certain meaning. The cast brass statue with cloisonné decoration radiates absolute majesty and authority. A charred statue stands pointing at this statue. The figure of a sand statue - a sign of mortality - is laid still, its navel projecting a red sky. One final figure is hung from the ceiling; his body 'stabbed' by a number of bright neon lights. This figure emphasizes the allegory of death and judgment, reminiscent of Bisma's figure on his deathbed in the Baratayudha epic. Unlike the real-world portrayal, the statues will remain 'punished' in their respective conditions for months in the exhibition space, a metaphor for humans who create hell for their fellow humans. Deeds that are considered 'good' by certain groups are often disasters or hell for others.