Precog Babies is a light sculpture built into the shell of a hollowed-out vintage radio box, repurposed as a kind of stage. At its base, a row of porcelain baby dolls is fitted with glowing round domes over their heads, lit from within. Above them, a curved Plexiglas tube wrapped in fiber optic cable casts a soft, continuous light across the scene. Two red vintage candy dispensers frame the display, their color echoed in the clown’s hat, coat, and lips. The clown, smiling but missing one arm, sits at the top like a figure of authority. The missing arm breaks the visual symmetry and adds a quiet disturbance to the scene. The smiling but damaged clown recalls the unsettling performers in Fellini’s The Clowns, where charm and discomfort coexist on the same stage. The stage is lit from behind, creating layered illumination that moves through the structure. The title refers to the film Minority Report, and the three “precogs” whose visions shape the future. Like its cinematic reference, the piece balances innocence with unease. Drawing on the visual language of Neo-Dada, Precog Babies uses symmetry, repetition, and repurposed commercial objects to reframe play as both theatrical and quietly unsettling.