Lau presents André Cadere’s round wooden bar as an instrument for testing artistic independence in public. Constructed from coloured cylindrical segments, each bar is governed by an internal order disrupted by a deliberate error. Yet its real operation begins through movement: Cadere carried the work into galleries, streets, openings and institutions where he had not necessarily been invited. The iconic idea is that autonomy is enacted through circulation rather than secured by formal isolation. Methodologically, Lau emphasises implementation—the repeated practice of making the work seen across changing contexts. The bar functions simultaneously as sculpture, measure, sign and social provocation. Its wider bridge is to institutional critique and urban performance, because its meaning depends upon permissions, routes, thresholds and encounters. Cadere’s independence is neither withdrawal nor self-sufficiency; it is the continual exposure of the systems that determine where art may appear and who controls its visibility.