“…mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever-greater degree the work of art reproduced becomes the work of art designed for reproducibility.”
 
The public presentability of most artworks is still confinedly dependent on museums or galleries, which often makes the viewers feel excluded. What else could be done to abridge the distance between art and viewers instead of replicating the artwork, as Benjamin suggested?
 
Seeking an answer to this query, I proposed a collaborative exhibition with Jin Li, an artist who focuses on the silent majority and taciturnity. The installations are designed to initiate the encounter between the silent majorities in Li’s depiction and the silent public in reality outside of the context of art museums. The mobility and potentiality for mass production emancipate artwork and museums from their strict site-specificity. Art spaces become prefabricated products in the age of mechanical reproduction.