In “In Your Home” (2011), Kahil presents a series of secretly taken, indecent self-portraits in other peoples’ homes. Evident by some awkward poses, natural lighting, and random compositions, Kahil seems aware of the peculiar act, and so has to be quick to set up her camera and snap the pictures. It indicates she is aware her host’s reaction would have surely been less than pleased. Therefore her intention goes beyond that of an exhibitionist’s fantasy. She employs her body as a performative medium, appropriated to assault the rationales of privacy and trust. On the one hand, she disassociates society-inflicted shame by exposing herself, both in an outsider’s domestic space and in the public sphere. While on the other, she blatantly breaks built trust, between her and her hosts and between her and the public.

Georges Bataille wrote, the threats associated with transgressive art are directed at the audience, in which the viewer is meant to be affected by the violation of taboo symbolised by or enacted by the work. Kahil’s work is not meant to exist in isolation of the social realm; it is only complete with a reaction from the audience. Similarly, privacy and trust are earned qualities and they vary from one instance (or relationship) to the other. While the artist does bring awareness to critical subjects, that are becoming more and more problematic in the age of the internet, her methods are ethically questionable. In the sense, that she presents a documented account of her, technically legal, violations.