Urban sites are visited by a figure, dressed in a camouflage suit. The figure shows neither the traits of an individual, nor a person. The so-called Ghillie Suit was originally invented in the 19th century for hunting. It was later also used during the First World War. Its camouflage effects the anonymisation and the neutralisation of the person who wears it in public. MacGhillie, an ‘I-would-prefer-not-to’ figure, an actor without identity, transforms the past and the future into the here and now oscillating between the hyperpresence of a mask, and visual redundancy. MacGhillie traverses the modern urban environment in which conspicuousness holds ambivalent currency wavering between cumbersome affirmation and visual arbitrariness. It is a variation on types like James Joyce’s Bloom, Hermann Melville’s Bartleby, or Robert Musil’s ‘man without qualities’, which have transgressed their original literary existence and have become the tropes of philosophical debates around the postmodern politics of subjectivity.