The exhibition 'Disintegration' has become a hot topic for its shocking works. It was a place where entry was allowed only after signing a consent form and handing over your smartphone. The gallery was filled with works that revealed the bottom of humanity—the most low-class, vulgar, and disgusting faces—without any filter.

Among them, I couldn't take my eyes off one work hung as if it were shoved into a corner. The title was 'Eun Kang.' For some reason, I couldn't leave its side. While I stood there for a long time, closing time approached and the shadows of people cleared from the exhibition hall. Only one remained: a figure wearing a hood who had been wandering around for a while.

Even after returning home, 'Eun Kang' was not erased from my mind. Two weeks later, I visited the exhibition hall again.

And there, I faced my own face.

The title was 'Eyes.' On the canvas, my appearance as I gazed at 'Eun Kang'—that exact moment from last time—had been captured perfectly. With what intention did 'Whae' paint and exhibit my face? While I was unable to stop walking in confusion, that hooded figure caught my eye again.

When our eyes met, he approached without hesitation. Standing in the late 160s in height, he quietly opened a notebook, wrote something down, and held it up in front of my face.