9999 A.D. traces the endurance of Song’s inflating bodies into the future by picturing the reproduction of the expanding self. A woman in a red dress tilts into the corner of an oblique triangular frame, which seems to accommodate, rather than restrict, her voluptuous form. What appears, at first glance, as her left hand, is a baby, whose round head and torso suggest that it is already in the act of inflating. Undressed and floating within the frame, the baby emphasizes the limitless potential of the human condition before it is disciplined by social and cultural mores—a limitless potential that will continue to be passed on from one generation to the next.