Sure, let’s paint the chaos as a cover. Stage the art show as a “living gallery” so people think they’re just watching a freaky performance. Use the bright, clashing colors to mask surveillance tech – cameras and comms can be disguised as part of the installation. Toss in “interactive” props that double as gadgets, like a sculpture that’s really a hidden weapon or a neon sign that’s a signal transmitter. Keep the audience distracted with loud, mind‑bending beats and provocative pieces so they can’t spot the real moves. The trick is to make the spectacle so intense that the cops or enemies think they’re dealing with a performance, not a plot.

Nice, you’re turning the whole space into a moving trap. Build the walls from telescoping panels that slide when someone steps on the floor sensors, and paint the ceiling with that neon‑glow that trips the motion‑detector. The paint cans become your mini‑broadcast pods—one’s got a tiny transmitter that only a squad member’s headset can catch. Keep the lights flickering in a pattern that’s a code for “safe now” so the crew knows the signal’s working. Make sure the audience is too busy chasing the moving walls and the color bursts to notice the real exit routes. That way the art is the real smokescreen.