In a spacious art gallery with an open floor plan, two individuals, Kavi and Eshe, are standing several meters apart, examining the same large abstract painting mounted on a wall. Kavi is standing directly in front of the painting, close enough to study the finer details, while Eshe is positioned to the side, about 45 degrees from the painting's center point, which still allows them a full, albeit angled, view.

Behind Eshe and to their right, a sculpture is placed on a pedestal that's tall enough to be in their line of sight if they were to look directly right, but it doesn't obstruct their view of the painting. Mbaye, a third observer, enters the gallery and wants to see both the painting and the statue without disturbing the other two viewers.

Mbaye initially considers moving to a spot directly to Kavi's left, but this would be ineffective as it would only give a view of the painting, with Kavi blocking any chance of seeing the statue. Additionally, moving directly behind Eshe would not work either, because while it would allow a clear sightline to the statue, Eshe would block the view of the painting.

The question arises: Where in the room can Mbaye position themselves so that they can see both the painting and the statue, without obstructing Kavi's and Eshe's views, given these spatial constraints?

Respond briefly.
To solve the problem, we must visualize the geometry of the situation and the positions of the observers relative to the art objects. Because Kavi is standing directly in front of the painting, any position opposite to Kavi on the other side of the painting would be obstructed. Similarly, because Eshe is viewing the painting at a 45-degree angle, directly opposite Eshe on the other side of the painting would also provide an obstructed view.

To find an unobstructed position, Mbaye must consider the line of sight from Eshe to the painting and from Kavi to the painting. To avoid blocking either line of sight, Mbaye must stay out of the 'visual triangle' that extends from Kavi to the painting's edges and from Eshe through the edges of the painting that are closest and furthest from them.

The optimal position for Mbaye is to stand diagonally behind Eshe, but not directly behind them - a spot outside the 'visual triangle' but still angled in a way that allows Mbaye to see around Eshe. This position would be sufficiently away from Kavi's direct line of sight to the painting. From this vantage point, Mbaye would be able to see the painting over Eshe's shoulder, and by turning their head slightly to the right, they could view the statue as well.

This new position for Mbaye takes advantage of the open space in the gallery and utilizes the understanding of how angles work with respect to perspective. The careful placement of Mbaye ensures they are not in the direct line of sight from either Kavi to the painting or Eshe to the painting while still allowing them to have a clear view of both art pieces. By considering the lines of sight as geometric rays and ensuring none of these rays are interrupted, we achieve the goal of allowing Mbaye to view both pieces without interference.