Making work from her position as a dominatrix, Reba Maybury’s artworks are instruction pieces completed by her submissive men, on her order. By outsourcing the menial labor of production, Maybury’s practice points at the powers of domination and subjugation, layered into both our gendered, intimate relationships and a societal order controlled by (often male) stakeholders in late capitalism. Who does the work and who profits? For O—Overgaden, Maybury continues a painting series based on paint-by-numbers kits reproducing Edgar Degas’ infamous images of sex workers washing, while introducing an element of surveillance, watching the audience watching the watched women being sexualized even while completing the most banal of tasks.