In an art gallery, Mahira and Takeo are friends attending a modern art exhibition. The gallery is set up with several partitions creating different sections for displaying various pieces. Mahira and Takeo separate to explore different parts of the gallery and agree to meet back at a specific installation in thirty minutes.

As Mahira wanders, she finds herself in a narrow corridor with paintings on both sides. At the end of this passage, there is a life-sized sculpture of a figure holding a raised umbrella. The sculpture is positioned such that it creates a shadow on the wall that looks like an extension of the sculpture's body, thanks to a strategically placed light fixture above. Curious, Mahira circles the sculpture to fully appreciate the interplay of light and shadow.

Meanwhile, Takeo is in a different section of the gallery that features an interactive exhibit. Visitors are encouraged to walk through a maze of semi-transparent screens projecting images of nature. These images change as a person moves through the maze, creating a dynamic experience where the viewer becomes part of the artwork.

The time to reconvene draws near, so Mahira and Takeo independently head back to their designated meeting spot, which is a kinetic sculpture in the central hall. From Mahira's current position, she has to walk back through the narrow corridor and turn right into the central hall. From Takeo's location, he has to navigate back through the maze, which exits into a circular room with paintings of various cityscapes around its perimeter, and from there, he can take a left turn into the central hall.

Given this setup, if Mahira reaches the central hall at the exact moment Takeo emerges from the cityscapes room, what will each of them be able to see and not see regarding each other and the surrounding artworks, assuming the kinetic sculpture partially blocks their direct line of sight? Provide a brief response.
As Mahira exits the narrow corridor into the central hall, her field of vision around the kinetic sculpture will be constricted due to the sculpture's size and movement. Depending on the sculpture's current position and her angle of approach from the corridor, it may obstruct her view of the entrance to the cityscapes room. If Takeo is emerging from that room at precisely this moment and the sculpture is between them, Mahira will not immediately see Takeo due to the obstruction.

However, even with a direct line of sight partially blocked, Mahira might perceive movement or the reflection of light off the cityscape paintings on the opposite wall, suggesting someone is there. If she notices these subtle changes, she might intuit that Takeo or someone else is coming from the direction of the cityscapes room.

Takeo's situation is a bit different as he leaves the circular room of cityscapes. Assuming that the central hall is more prominent than the corridors leading to it, he will have a broader field of view upon entering the hall. Even with the kinetic sculpture moving, due to the likely bigger size and openness of the space, he will have more opportunities to catch glimpses of Mahira as she comes out of the corridor. Subsequently, he might see parts of Mahira as she moves--like a catching glimpse of her arm or the side of her head--between the moving parts of the sculpture as long as his view is not completely blocked by a solid or opaque part of the kinetic piece.

Both Mahira and Takeo, experienced with art exhibitions, would be familiar with the dynamic interplay of static and moving parts in an installation. This experience would help them in anticipating each other's movements and position as they navigate toward their meeting spot. Their understanding of the changing perspectives and sightlines within such environments would assist them in locating one another. They might even employ their knowledge of artwork positioning to predict where exactly the other would appear from around the obstructions within the gallery.