Strandberg has varied Nocturne in several exhibitions and versions. In 2020, Strandberg seems to close Nocturne's stage with the work Scener (Valokuvakeskus, Raseborg, 2020). The name, taken from the world of theatre, makes it clear that the artist has become aware of his dramaturgical ability. In this meta-work, the author's self-awareness of his own tradition and the weight of professionalism is also present, yet also the collegial love for the artists that came before. The exhibition features a new installation version of Nocturne's video, named after "Carolus and Hilma" (i.e. Enckell and af Klint). Warm pastel shades painted on the wall have come along, whose relationship to the blue twilight of the video's colour world remains questionable. Is the night receding, the twilight folding? In any case, the play has solidified, and the blue mist seems to disappear. What is let of Nocturne's collages are two prints with heavy frames, in which the printed colours blend so much that they are tilting towards to black-alikeness. In addition, as if in total contradiction to Strandberg's previous stance, there is a "work object" on the window sill of the gallery, a cathode-ray tube monitor on top of a reflective blue plexiglass. It shows an oppressive look out to the street in the form of the video work Levande död ("A Living Dead").

One of the characteristics of "the eye work" is to turn the viewer's experience on its head; to make a work that looks at the viewer. At the same time, it deals with the simultaneity of watching and being watched; and, in that sense, the internalisation of the eyes of society and other people, that is, of power relations, control, and supervision.           – Magnus Strandberg