Jet Too Holiday
November 23 - December 6, 2025
13 Grattan St, #402, Brooklyn, NY, 11206
New York, NY — A Space is pleased to present Jet Too Holiday, a group exhibition that examines what remains of visual language when image-making no longer serves any product. Built from the ruins of advertising, the show asks: When desire becomes endless, circulating without an object, what does an image become?
In an era of emotional capitalism, where feelings are packaged, delivered, and tracked, the image shifts from representing a thing to representing its own desirability. Jet Too Holiday engages this de-functionalized advertising language, reassembling its fluorescent colors, geometric motifs, and seductive surfaces into new, uncanny forms. Nothing here performs the role of a product, yet each work hums with the residue of marketing logic: the lure, the fiction, the promise of satisfaction that never fully arrives. The exhibition becomes a “holiday of desire,” a space to enter, wander, and reflect on the contradictions shaping our visual world.
In Immaterial Trace, Yu Kyung Chung examines the weightlessness and residue of images in the digital age. By layering printed fragments with gestural brushwork, she brings the tactile presence of the hand into contact with the screen’s immaterial space, revealing the perceptual residue that lingers after meaning dissolves.
Ruby Driscoll’s Pretty Pony (Finn) confronts another kind of commodification: the brutal economics of racehorse breeding. Painted in tender remembrance, Finn, a horse killed once its value expired, becomes a portrait of life caught inside systems that equate worth with productivity.
Bodies, too, slip between vulnerability and transformation. In Beneath Soft, Xiao Ge explores the generative instability of flesh in motion, a body reorganizing itself through folds, pressure, and sensation. Softness becomes both a shield and a quiet assertion of strength. Xilichen Hua’s Metallic Awakening extends this inquiry into a virtual space, where the artist’s own digitally rendered body is disciplined, suspended, and surveilled. Through moving images and sound, Hua exposes the forces that shape femininity under the influence of technological and cultural power.
Other works in the exhibition warp perception and space through the use of tilt, texture, and rhythm. Herok’s Out of Field #2, with its intentionally off-balance framing, captures the fragile equilibrium of light over the Lake Champlain Causeway. A shifting sky, sun, storm, and rainbow become a living tension where imperfection opens new ways of seeing. Peter Leone’s DeepLine, a cast-metal relief, maps an abstract terrain of veins, rivers, and circuitry. Its polished lines thread movement through solid matter, revealing the flicker between the engineered and the organic.
Memory, imagination, and consumer myth intertwine in Miyuki Tsushima’s Wonder-Voyager, a reflection on childhood longing shaped by an American advertisement. From the colorful dots of Wonder Bread to Voyager’s passage into interstellar emptiness, Tsushima traces a lifelong pursuit of the unknown, a dream propelled by both fiction and cosmic discovery. Closing the exhibition, Weiyuan Wang’s TALENT INC. 144 editions satirizes the fantasy of purchasable creativity. Hand-silkscreened onto takeout boxes, the “product” becomes a meditation on printmaking, replication, and the inflation of uniqueness within artistic labor. In its humor lies a recognition of the desires, earnest, absurd, human, that drive creation
Together, the works in Jet Too Holiday reconsider the mechanics of visual persuasion. Through exaggeration, displacement, and poetic reassembly, the artists reveal a world where desire circulates endlessly, unanchored from objects yet still shaping our experiences. In this suspended space, bright, disorienting, and strangely familiar, the exhibition invites viewers to question what we consume, what we chase, and what remains when the promise of satisfaction slips away.
Installation View
