Gilley’s study establishes Hejduk’s Architectural Masques as compound structures in which drawing, text, emblem, history and performance cannot be separated without destroying the work’s architectural meaning. The masque is not simply a representational format: it transforms mottos into characters, characters into buildings and buildings into social roles. Silent Witnesses and Victims operate like contemporary emblem books, using the relation between image and language to stage questions of memory, community, responsibility and inhabitation. This gives Hejduk’s work a distinctive methodological force. Architecture is produced in the interval between word and drawing and remains incomplete until embodied by a participant, citizen or performer. The projects consequently challenge the architect as sovereign author; the built figure becomes a vehicle for cultural memory and political critique. The wider bridge is to performative and semiotic theories of architecture in which spatial form communicates through narratives, symbols, roles and acts rather than through geometry alone.