Throughout south-western Nigeria, Yorugrave;baacute; men and women create objects called agrave;agrave;leacute; to protect their properties-farms, gardens, market goods, piles of collected firewood-from the ravages of thieves. Agrave;agrave;leacute; are objects of such unassuming appearance that a non-Yorugrave;baacute; viewer might not register their important presence in the Yorugrave;baacute; visual landscape: a dried seedpod tied with palm fronds to the trunk of a fruit tree, a burnt corncob suspended on a wire, an old shoe tied with a rag to a worn-out broom and broken comb, a ripe red pepper pierced with a single broom straw and set atop a pile of eggs. Consequently, agrave;agrave;leacute; have rarely been discussed in print, and then only as peripheral elements in studies devoted to other issues. Yet agrave;agrave;leacute; are in no way peripheral to Yorugrave;baacute; culture or aesthetics. InVigilant ThingsDavid T. Doris argues that agrave;agrave;leacute; are keys to understanding how images function in Yorugrave;baacute; social and cultural life. The humble, often degraded objects that comprise agrave;agrave;leacute; reveal as eloquently as any canonical artwork the channels of power that underlie the surfaces of the visible. Agrave;agrave;leacute; are warnings, intended to trigger the work of conscience. Agrave;agrave;leacute; objects symbolically threaten suffering as the consequence of transgression-the suffering of disease, loss, barrenness, paralysis, accident, madness, fruitless labour or death-and as such are often the useless resides of things that were once positively valued: empty snail shells, shards of pottery, fragments of rusted iron, and the like. If these objects share "suffering" and "uselessness" as constitutive elements, it is because they already have been made to suffer and become useless. Agrave;agrave;leacute; offer would-be thieves, regarded as "useless" people, an opportunity to recognize themselves in advance of their actions, to see what they will become.