A compilation of photographs taken on the opening of Roberto Chabet's solo exhibition, 'Observatory', two simultaneous exhibitions featuring a two-part installation at Finale Art File and West Gallery, SM Megamall from 4 - 16 April 2002.
The notable figures in the album include Roberto Chabet (Image 1-2, 7, 12-13, 15-18, 20, 24-27, 35), Carmen Mesina (Image 13, 15, 17, 23, 28, 34-35), Nancy Rondestvedt-Velasco (Image 1), Gerry Tan (Image 1), Conrado Velasco (Image 1, 12), Boots Herrera (Image 3), Juni Salvador (Image 3), Popo San Pascual (Image 3, 6), RM de Leon (Image 3), Antonio Austria (Image 5), Ana Labrador (Image 5), Sylvia Gascon (Image 6), Vita Sarenas (Image 6), Raul Rodriguez (Image 8), Nilo Ilarde (Image 8), Hubert San Juan (Image 8), Nona Garcia (Image 9), Arvin Viola (Image 9), Cocoy Lumbao (Image 9), Louie Cordero (Image 9), Gary-Ross Pastrana (Image 9), Alvin Zafra (Image 9), Katya Guerrero (Image 10), Jet Melencio (Image 10), Lubin Nepomuceno (Image 10), Ernest Concepcion (Image 11), Nini Dalena (Image 14), Danny Dalena (Image 14), Gus Albor (Image 16), Yolanda Johnson (Image 16, 28), Waling Gorospe (Image 26), Joy Dayrit (Image 26), Romeo Lee (Image 28), Daisy Langenegger (Image 28), Patrick Johnson (Image 28), Brian Sergio (Image 28), Alvin Villaruel (Image 28), and Ronald Achacoso (Image 28).

In the Finale side, clipboards arranged in a grid manner covered the black plywood panels. For Chabet, neon is the modern version of the Northern Lights. In this work, a red neon walking cane, whose shape also relates to the Big Dipper, signified a journey, a blind search for the North Star somewhere across the constellation of stars, whose names are translated in Braille onto sheets of exposed photo paper attached to the clipboards. Also part of the Finale installation are four clipboards, placed inside the gallery's glass case, with various papers, and an envelope with the labels crossed out.

In the West side, a red neon arrow points to darker version or the shadow of his Boat, this time overturned, and resting on drawings of the Philippine map on black paper made by children who were not given a map to copy from but were asked to draw from memory.

Chabet wrote, 'the exhibit examines the complexities of seeing, rendered through the observer's storehouse of memories.'