I first saw this billboard on the far western edge of Harlem as a distant reflection in the rearview mirror. As it soon vanished from sight, I thought I had exaggerated its audacity or imagined it altogether. Returning to the site a few weeks later, I found it as I had remembered it, though its message, which once seemed devastatingly clear, grew increasingly abstract the longer I looked at it. The sparkling block-gold letters stood in stark contrast to the cold Helvetica font of a Fox News billboard in New York’s financial district. What kind of identification with the aesthetic was being attempted here? What do they mean by power? Whose power, and to used to what end? To me, the perversity of the billboard lies in a kind of extreme irony that flaunts self-parody—self-mockery leveled back toward the viewer. But the way the media inform our consensual social order, the extremity of the billboard also functions as a cipher. As Jaques Rancière has warned, “The police order is not only a Big Brother, it is a kind of distribution of what is given to our experience, of what we can do. . . .” I think the same kind of partition between what is possible and impossible for us can be made by more sophisticated channels. It is wrong to focus on a horrible example like Fox News. The sophisticated media are also part of the police order, as a kind of distribution of what you are and are not able to do.