The exhibition opens with quiet introspection. Everything I Would've Taught My Now Aborted Child by Chanya Vitayakul drifts gently through the gallery, its suspended text flickering in and out of view like a memory half-formed, calling attention to imagined futures and lingering loss. Wuyou Garden by Yutong Liu transforms jewelry and fragmented poetry into a tactile, rearrangeable landscape—each word and ornament a meditation on memory, desire, and the act of looking inward. Fragments of Home by Steffie Chau cradles family photos within porcelain and oyster shells, turning everyday vessels into intimate reliquaries of shared meals, care, and absence.

The pull of fate and imagination emerges in He Comes Home But Was Born On A Wrong Planet by Yiming Tang, where dreamlike figures float in surreal terrains shaped by forces beyond control. In Missed Connection and Don’t Look at the Sun, Jesse Ng offers two glimpses of fleeting magic—accidental encounters and celestial phenomena that vanish as quickly as they appear, tracing the edge between vision and memory. Flower and the Scarlet Omen by Yichen He renders a single bloom with layered cyanotype and acrylic, pulsing between permanence and ephemerality, as if caught in the pause between inhale and exhale.

Material becomes a quiet collaborator in 己亥杂诗-落 / Drift by Alexa Huang, where pigments, marble dust, and joint compound shift and settle unpredictably, echoing geological erosion and the impermanence of place. In Moment of Respite by Daria Fontaine Pasquali, gelatin sheets soften the edges of industrial objects, turning a once-punitive slapper into a tender, weight-bearing structure, blurring sensation, memory, and care. A Pair of Knees by Angel Niu maps the body's absence, presenting negative space not as void, but as a latent presence charged with stillness and potential movement.

Cultural inheritance and simulation intertwine in Cultural Relics of the Artificial Intelligence Era by Nannan Zhang, where museum-like artifacts from an imagined future ask what legacy means in an age of encoded memory. Finally, Domestic Balances by Federica Sala transforms ordinary household items into kinetic sculptures, balancing abstraction and familiarity with quiet precision—inviting reflection on the rhythms of daily life and the equilibrium we continually seek.

Together, the works in When Time Lingers In The Air form a constellation of attentiveness. They ask us not simply to look, but to linger—to pause inside a moment, and to consider how time, perception, and consciousness flow in ways both subtle and profound.