This final gallery focuses on body politics and mapping, themes prominent throughout Keith Piper’s practice. The power to map, label and scrutinise both physical bodies and geographical spaces has been used, and sometimes abused, by those in authority to control, regulate, organise and exclude. Governments and institutions express this power to map through policies and procedures used to manage populations.

Piper’s works explore different aspects of mapping
and are at the same time in resistance towards the powers that discriminate and stigmatise. He gives special attention to the institutional and governmental powers regulating society and urban space in the video The Perfect City (2007). He is also concerned with preconceptions and prejudices based on the racialised body, physical ability and notions of national belonging, explored in The Nation's Finest (1990). The Trophies of Empire (1985) investigates different occurrences of racism throughout the last 200 years.

In the 1990s the circumstances under which the moving image was generated and exhibited in art spaces began to change dramatically, principally due to the availability of equipment of increasing quality. Without access to a professional video production facility, a complex montage of The Nation's Finest would have been impossible at that time. The maturation and relative affordability of video editing tools, software and digital cameras led to the production of the final work in the show: The Perfect City.