The most political piece of the Biennial is -without a doubt- Crowd Fade by Latifa Echakhch in Istanbul Modern. This artwork is a combination of two walls facing each other, creating a hallway. The hallway reveals a scene from a protest, painted on the walls, displaying people walking and yelling. What significant about this artwork is the fact that it is ravaged. The paint on the walls is mostly flaked and gone; only a few of the figures are still standing. For the most part, the naked wall and layers of paint are revealed. Flaked pieces of the wall are piled up right below, in pieces. Echakhch’s paintings are based on photographs taken during the Gezi protests in 2013. But the artist does not want her work to be linked to just one certain event. Rather, she wants her work to be perceived in a universal sense. Walking through the hallway with the faces of this event looking over, the whole artwork feels like a monument of people protesting everywhere around the world. With the crumbling walls and most of the figures already shattered into tiny pieces that are now piled up on the floor, this installation is a strong representation of crumbling lives during political events.