My Social Media is My Art
March 20 - 27, 2026
13 Grattan St, #402, Brooklyn, NY, 11206
New York, NY — A Space Gallery is pleased to present My Social Media Is My Art, a group exhibition exploring how digital environments reshape artistic production, circulation, and perception.
My Social Media Is My Art brings together artists who reflect on the aesthetics, behaviors, and pressures of online space, where documentation becomes performance and visibility becomes embedded within the creative process. Across video, painting, ceramics, weaving, digital interfaces, and installation, the exhibition considers how artistic practice unfolds within systems of scrolling, archiving, and algorithmic attention.
Ava Campana’s Times Square Annihilation collapses early-internet nostalgia into an overstimulated spectacle, where the glow of a 2007 laptop screen becomes both portal and performance, dissolving authorship into a loop of consumption and self-projection. Engin Demir’s Synchronous Illusion constructs a system where “real-time” is no longer lived but computed, positioning the human body within an algorithmic order that continuously predicts, records, and recalibrates subjectivity. In Ignition, Jingchao Yang extends beyond the screen to examine industrial extraction while mirroring the logic of digital systems, continuous, immersive, and extractive, where visual rhythm and data flow converge into a hypnotic environment of excess.
Kaley Weil, Id die for you...thanks, and i have nothing to say to you, translates fleeting digital language into ceramic form, transforming speech bubbles, slang, and emotional shorthand into tactile objects that preserve the intimacy and awkwardness of online communication. In Handstand, Qishan Li reorients the body as both interface and ecosystem, suggesting that perception itself can be re-coded through inversion, echoing the shifting logics of digital space. Lauren Kingsley Schoepflin’s evolving website dairy transforms screenshotting into a continuous archive, where memory, confession, and excess accumulate into a public timeline shaped by the scroll, while her woven work Whoremonger reclaims identity through the visual languages of mass media and regional aesthetics.
Luping Wang’s silver Orchid 001, 002 series suspends ephemerality within material permanence, echoing how digital images attempt to fix transient moments into enduring forms of circulation and display. Through painting, Viv Moench, *brat trinity*, IMG_date idea?, captures the internet as both expansion and erosion, translating memes, interfaces, and digital fragments into physical artifacts that question what remains beyond the scroll.
Resisting the velocity of online consumption, Yingjie Li’s Red Resonance constructs a dense visual field that invites viewers to slow down, zoom in, and reclaim attention within the very space that fragments it. Finally, Yixuan Song’s The Dopamine Cocoon visualizes the psychological architecture of digital life, where curated personas expand under algorithmic stimulation while cognitive and emotional strain accumulates beneath the surface.
Together, these works trace a landscape where the boundaries between artwork, interface, and audience collapse into one another. The exhibition does not position social media as external to artistic practice, but as a condition within which art is continuously produced, performed, and negotiated.
Installation View
