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The 15th century Voynich Manuscript, Kandinsky’s abstract painting with a secret encoded message, militant jihadists using porn images for hidden communication and most recently computer malware embedding virus code into images on infected computers (and perhaps this text too) are examples of steganography, which can be also found in Amy Suo Wu’s works. By using Cardan Grille, substitution ciphers and camouflaged text within text in combination with invisible inks, Wu’s works are more than just highly enjoyable pieces of visual art and calligraphic design. As a combination of exhibition works, toolkit manuals and workshops, they are also pieces of practical media research and activism. Her gallery exhibition serves as an experimentation lab for invisible inks and other steganographic techniques with extraordinary creative potential – and is therefore just the beginning of a practice that is meant to leave behind the space where it is now being shown.