Upon entering the art museum, we are naturally drawn to picture frames in neat rows, enjoying the aesthetic pleasure that the images within them offer. Leon Battista Alberti described painting as an open window through which the painted subject from the artist's perspective is seen. In this case, a four-sided closed shape not only creates a field of view but also serves as a boundary between painted spaces and real-world environments. However, Pasyageseeks to break down this barrier by opening the classic art museum, a sealed box meticulously controlled in temperature, humidity, and lighting.

This site-specific installation is made of two parts and displayed in the gallery located in a park. Outdoor on the grassy area, a waist-high, dark goldenrod column stands, while the photography taken by seeing through this installation is framed and hung inside the exhibition space indoor. This arrangement delays the viewer's sequence of seeing, blending their sensory experience inside and outside the gallery. On the side of the installation, a narrow, arched doorway beckons the viewer to bend down and peer inside. Elements such as crown molding, parquet wood flooring, a leather bench, a golden picture frame, a plaster sculpture, nearby the scale model figures, symbolizing the museum's visitors, collectively constitute a diorama of an art museum. Through the rectangular frame, emptied of content, scenery spills in from the outside. Ordinary landscapes are captured at random by viewers as their gaze shifts, while the park's tourists gradually become characters of the painting.

Daylight streams generously into the interior scene, and the miniature figurines appear to immerse themselves in the dramatic space under the constantly changing illumination. The viewer's third-person perspective, pulled backward, reveals the implications of seeing. The work is named “Pasyage”, a term in French that encompasses both the idea of “landscape” and “landscape painting.” Much like this piece, it does not regard nature as an object to be depicted in illusionistic representation. Instead, it subverts the seeing way of classical landscape painting and the museum's spatial experience.