The staged images were captured against the backdrop of the city’s empty streets at sundown during the holy month of Ramadan. During the time, the Muslims fast and retreat indoor, leaving the city in an eerily atmosphere. Through portraying ordinary citizens from religious minorities, the photographs reclaim the occupation of public space. The often- domestic gestures are brought forward and presented in the streets. In Karachi Series I (Chandra Acharya), a middle- aged woman is sitting in front of a dressing table plaiting her hair. The royal-blue sari revealed her identity. While in Karachi Series I (Ken DeSouza), the man in white shirt is polishing his shoes without furthering revealing his identity. Presented in light boxes, their backlit luminosity exaggerates the absurdity and strangeness of these images. By situating them in the specific time and locations, Abidi tests the political potentials of these everyday gestures.