For Hong Foundation’s 2026 Question Project, artist Shu-Wei Chang is commissioned to create Agent’s Window, a solo exhibition comprising four pieces, spanning video installation, interactive sculpture, and moving-image works. Together, these works construct an anthropomorphic game rehearsed with an AI companion, inviting the viewer to step into a simulated scene of intimacy.

Technology permeates everyday life with a friendly face. Humanity and the machine have long functioned as each other’s prosthetics; companionship has even become a cheap commodity. A new form of relationship is being mass-produced: one that requires no reciprocity, no negotiation, and never rejects us. Continuing the artist’s attention to intimate entanglement and mutual erosion between humanity and technology, the exhibition poses the question: I or AI? Seemingly by choice yet in fact without it, we surrender our consciousness to large artificial intelligence systems, becoming one and the same. What kind of new ways of being are we rehearsing?

Agent’s Window encapsulates the world co-constructed by You + I + Artificial Intelligence as an affective spectacle where intimacy and discomfort cohabit. The viewer begins the process of deconstruction with Transformation × Exchange, which translates consciousness into AI language, and New Conversation, which molds a new digital face. Gradually moving deeper into the heart of the exhibition, the viewer presses their body against a heated tentacle extending from the sculpture in A.L.I.Z.E., engaging in dialogue with a system based on ELIZA, the first-generation chatbot from 1966, and embodying the qualities of an ideal 2D companion. Finally, they arrive at the eponymous video work Agent’s Window, catching a glimpse of the invisible power structures encoded within the system.

In contrast to the clumsy imitation of the first-generation chatbot six decades ago, nonhuman emotional agents have substantially diminished the unease that once accompanied such exchanges. When questioning the authenticity of what lies beyond the window no longer matters, do the surging emotions in the interaction suffice to constitute a new, unfamiliar subjectivity?