In Flow, completed in 1991, Wenyi Hou, the Chinese woman migrant artist being interviewed, struggles with the impossibility of identity formation through speech and performs instead a documentary scene that has obviously been rehearsed in order to highlight the unhumanness of being human. She asks whether it is possible that we all originated from and could be reducible to grape, in the farm of bunches, connecting and consumable, yet all brilliant and different in their own contexts, or in her words, “in another kind of time.”