Nighthawks explored the experience of insomnia. Resembling Edward Hopper’s oil painting Nighthawks (1942), which features a downtrodden late-night diner, the set consisted of two long rectangular tables at right angles. Around those tables, a woman in a dressing gown droned stream-of-consciousness text into a microphone; a soprano in thrill to the sound of her own mellifluous voice sung Mozart whilst exposing a breast in the manner of a nursing Madonna; another woman slapped on far too much make-up, strewed her clothes over the floor, ran around the perimeter and performed countless sit-ups; an artist in a beret painted abstractly on a canvas, the midriff of the made-up woman, and then the table top; and a compulsive obsessive male with a broom and dustpan and brush failed in his increasingly desperate attempts to clean up the whole mess. All the time, a film of a lonely young woman in a student bedsit was projected overhead; as the surreal figures below – aspects, perhaps, of her own psyche – lost control, her struggle to find solace in sleep became all the more apparent.