Throughout March/April 2012, Julie-Anne Long undertook a durational performance intervention Val, The Invisible in the public spaces of Sydney’s Museum of Contemporary Art. Quietly traversing the floor and subversively circulating throughout the building in a mode of walking/cleaning, the performance interrogated the multiple strata of visibility in operation within public spaces, specifically considering those that are occupied by low paid female workers. Since the 1960s the intersection between movement and visual art has often been explored through a discourse on the subjective, the everyday, and the private body made public. In her paper Val, The Invisible: Walking Whilst Working and Other Invisible Mobilities, Long extends these lines of enquiry to explore the labour and mobility of the body as part of the production of work.