en Cuevana3. "Before, it was like this; now, it is like that." This recurring phrase in the work raises the question: what was like this, and now is like that? Through this wordplay, we glimpse a recurring theme in Segal’s works: a subtler, less persuasive form of magic—the trick. Falso Sport is filled with visual games, presented as yet another instance of assembly and editing. In its persistent exposure of the artificiality of images—mostly cardboard models of intentionally precarious realism—the work reveals a power dynamic that dictates what is shown and what remains hidden.
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