Wrestling World Tour transforms the museum into a site of physical participation by inviting visitors to wrestle the artist. The work brings together two cultural traditions—art and sport—that are often afforded different kinds of cultural attention, asking how each helps define what a community values and chooses to preserve.

Although wrestling is among the world's oldest recorded sports, its place within the modern Olympic Games has periodically been questioned. The tension between its long history and uncertain future reflects the vulnerability of art, history, and cultural heritage when they are neglected, abandoned, or intentionally erased.

By replacing passive observation with direct physical engagement, Wrestling World Tour suggests that culture is sustained as much by participation as by preservation. The work asks how societies determine what is worth carrying forward, what is allowed to disappear, and who makes those decisions.

Social Foreclosure is a site-specific installation that reflects on the gradual loss of privacy in contemporary life. Towers of stacked bunk beds fitted with translucent pink camping tents transform familiar domestic objects into fragile architectural structures that blur the distinction between home and temporary shelter.

Bringing together two forms of intimate space—the bed and the tent—the installation examines how the boundaries between private and public life have become increasingly unstable. Repeated as modular structures, they suggest apartment buildings, institutional housing, and temporary encampments simultaneously, presenting home less as a protected refuge than as a condition continually exposed, negotiated, and redefined.

Social Foreclosure reflects on the quiet unease of entering a world where privacy itself seems increasingly fragile. Rather than documenting a particular housing condition, the installation asks how communities—and individual identities—change when even our most intimate spaces are no longer entirely our own.