“At the threshold of visual perception, a set of abstract relations arise.”
In his review of Threshold in Relations, Chunbum Park
@chun.park.7 writes from within instability—where perception never fully settles. The threshold, he argues, “cannot be a middle compromise,” but instead “proposes a complete push to the maximum in terms of perceptual experience,” forcing both artist and viewer to continually re-conceive the work.
Zhaochen Chen’s Two Hands (2025)
@chenzhaochenart “can be easily identified as a pair of hands,” yet also read as “a jellyfish or a squid,” becoming “an abstraction that serves as the core definition of a biological unit.” In contrast, Yuyu He’s Sha, sha, sha (2024)
@heyuyu merges “curvilinear and aerodynamic” forms with structure, where “the being is already a part of the space that it occupies.”
Aubrey LaDuke’s
@aubrey.laduke mirror portraits are “neither sweet nor pretty,” but “an earnest investigation of the self,” revealing a subject “prone to emotional suffering” beneath the “masquerade of strength.” Xiaohan Jiang’s mooner paintings carry “a strong feeling of utopian innocence,” resisting “the capitalist need to put a numerical sum on every object.” Zihan Cui’s
@zihancui_art algorithmic abstractions combine “the calculatable with the incomputable,” asking whether reality is “discrete or continuous, both or neither.”
“Art is in the end a visual philosophy,” Park writes—one that unfolds at the threshold, where meaning remains in motion.
—
Group Exhibition: Threshold in Relations
Curated by Fanfan Yuxuan FAN
@fanfan_noire @fanflus
Nguyen Wahed Gallery, New York
@nguyenwahedart
Featuring artists:
Yuyu He
@heyuyu
Aubrey LaDuke
@aubrey.laduke
Zihan Cui
@zihancui_art
Xiaohan Jiang
@____mooner____
Zhaochen Chen
@chenzhaochenart
Full review now live on DART Magazine. Link in bio.
#ExhibitionReview #ArtWriting #ContemporaryArt #ThresholdInRelations #VisualPhilosophy #ArtCriticism #InstallationArt #IndependentWriting #DARTMagazine #NYCArtScene
