Swiss artist Christoph Draeger is well known for his installations and photographs based on disasters and his interest in how the television media depicts them. In response to the rapid-fire format of such events in the media, his work is a closer and more intimate examination of the context and environments in which these tragedies occur. In the piece Black September, Draeger reconstructs a dorm room where Palestinian terrorists captured and murdered eleven Israeli athletes during the 1972 Olympics in Munich. Inside the room amidst a trail of devastation, the television plays the actual Olympic broadcast and its somewhat superficial coverage of the ensuing tragedy, interspersed with footage created by the artist. Draeger juxtaposes sports as a collective global experience with the Arab/Israeli conflict, a tragic confluence of competition, diplomacy, and politics. By bringing the viewer into the room with the televised coverage of the event, Draeger emphasizes the the disconnect between representation and reality.