These are residences forged from fear, need, and necessity, using crafts and design rooted in unseen collective histories and community knowledge, yet they are largely anonymous to us in the Global North. Philippe Tabet’s work on show at the Italian Pavilion, Order (2017) speaks to these notions of escape-through-craft and of invisibility. His grid of masks—formed of aluminium casting, plywood bonding, and ceramic glaze—conjure industrial protective equipment worn by fabricators and celebrates diversity of material, but also represents anonymous skills and makers. Masks, as we know from Venetian carnivals, offer anonymity, though invisibility is not usually a thing chosen by a person, but something put upon them through cultural and political conditions concealing their stories.