Ting Tong Chang's The Hidden Shift, which opened at the Mattress Factory on November 22, will remain on exhibit at the Mattress Factory through January 3, 2027.
In the summer of 2024, Ting Tong Chang spent the better part of a week exploring Pittsburgh, during which time he learned of the pivotal role the region played in the history of organized labor. He was particularly struck by the 1892 Homestead Strike — a violent confrontation between workers and Henry Clay Frick’s Pinkerton agents – and the extreme power imbalances it highlighted. Drawing inspiration from these events, as well as from the Mattress Factory’s own layered history of industrial and cultural production, the Taiwanese-born artist worked alongside local filmmakers Alex Abrahams and Benny Shaffer to create a story that would weave these threads together. The resulting work is a murder mystery film set in a fictional macaroni factory, where the factory owner is found dead and each character carries their own potential motives and suspicions.The museum is located at at 500 Sampsonia Way, in the Mexican War Streets neighborhood of the North Side (map).
This film noir–inspired work began as a three-act play. Here it becomes juxtaposed with a documentary style “making of” film. It is both a film and a film about the making of that film.
This cinematic device is further complicated by the casting of museum staff as the film’s actors. What emerges is not just a behind-the-scenes look into the creative process but an intimate portrait of daily museum life. Alongside cast rehearsals and set building, we see staff using the copy machine, greeting visitors, and cracking jokes at a morning meeting. The result is a twisting metanarrative that dissolves the boundaries between art and labor, performance and production. Through its structure and story, The Hidden Shift invites viewers to grapple with complex questions surrounding capitalism, the meaning of work, and the precarity of the so-called ‘creative class.’
This blending of reality and fiction extends beyond the screen, unfolding further within the exhibition space. Here, visitors encounter remnants of the film set – hand painted backdrops, leftover props, and dramatic lighting. By positioning the audience within the physical traces of the film’s production, Chang creates a bodily experience that unsettles our sense of what is real and what is constructed. We find ourselves unwittingly stepping onto a stage that slowly reveals itself.
At the climax of the film, the two juxtaposed narratives begin collapsing into each other. Staff are shown in costume walking through the museum. Fictional characters break the fourth wall. A boom mic operator slips into frame. This self-awareness and subtle humor is common in Chang’s work, where drama and satire merge, offering a lens to help us understand our complex past as we confront an uncertain future.
