In effect, no one component of Princess Hijab’s work can be privileged over the other, as each contributes to the overall memory of the work: The urban frame, the malleable hijab, its capacity for both obscuring and marking queerness, and the viewers as commuters/tourists. All are crucial factors in the performance of globalization as it functions on shifting local and global scales of recognition (Princess Hijab's tags' potential object lesson).
It is therefore significant that the Princess’s graffiti writing does not appear on or in the train, the vehicle of travel, but that it stays on the platform, the very precipice between fast-moving experiences and slow, waiting, coming and going, the space of surveillance and ambivalence. What seems most important, however, as we continue to unpack the gestures, is greater consideration of the Princess’s dependence on the commuter’s agency to react and remember; this relationship not only points to, but calls for the investment of artists and viewers in spatial practices that engage with commodity capitalism, the dressing of social bodies, colonial globalization, and the liminal spaces of cultural memory that each articulates.