The publication To Give Something Back combines an essay by Eva Wilson about the artist's practice, feedback loops and their differentials with films stills and exhibition views of recent sculptures and films. The work with the same title To Give Something Back does not make retroactive sense of a senseless loss but instead continuously finds forms of expression for it by way of strange translation.What, if anything, remains of the object’s “essence” throughout Kellein's material, formal, conceptual, and virtual transformations? And furthermore: how can we take hold of, take care of the new layers of meaning that have appeared, intentionally or not, in the process of turning and returning?