This city symphony‐inspired work features phantom rides filmed in Belgrade, Ljubljana, Podgorica, Sarajevo, Skopje, and Zagreb along the cities’ Main Streets named in Tito’s honor, such as Marshal Tito’s Street, Tito’s Road, etc. The artwork is inspired by Dziga Vertov’s legendary film The Man with the Movie Camera (1929), in which the director through montage blends a number of Soviet cities into one cinematic metropolis. Unlike Vertov's film however, in which the shots from different cities are assembled linearly in a single projection, the image in The Third Way is simultaneously formed in two ways A) by an overlay of six different projections coexisting on the screen in real time and B) by displaying the same six video feeds on six monitors aligned on the floor. The title of the piece refers to the political option largely considered as the only viable alternative to the two dominant post‐WWII ideologies, where Yugoslavia’s interpretation of Marxism was manifested through a highly complicated system of self‐management organized within a complex network of Basic Organizations of Associated Labour (OOUR).