Couples
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Couples
C magazine review/etc. /writing sample
Yuling Chen
2026 June 12th
The exhibition Frida and Diego and other exhibitions and collection at the MoMA specify love as a verb. It criticizes Israel Palestine wars, conflicts and other political events through drawings and photographs. It talks about China through questioning the viewers about their loyalties. The images of Frida Khalo and Diego Rivera make people have doubts about the world affairs concerning where it would go from now that Iran was attacked repeated by us, Israel and other countries. China as a friend performs such glorified images of love through the impacted news on the web. It had made people feel certain anxiety regarding women, couples and single people worrying about where their allegiance lies. china’s poverty often affects how people view the country. The exhibition made clear China’s power is limited. China has demonstrated a tendency towards authoritarianism since the pandemic. People are talking about protests in China. It has agitated them and China. They considered China’s economic growth as miracles. It brings to mind the myth of Greek gods and goddess. China has made Greek life rifed with tensions. The exhibitions uses various images of cooperation to tell the story of China in a difficult time. It tells people of the western oppressions and blockades targeting China while disguising themselves as justified actions against bad people. China has enjoyed this type of attention billing itself as the next super powers while maintaining an obscure and opaque records of human sufferings. After facing marriage difficulty I had made a prediction or narrative about Hong Kong fire in 2025 created by a dead infant, a movie motif often recurring in real life. I traveled to downtown Toronto and had found people abusing that visual urgency with the movements of their hands and feet. I knew they just wanted China to like them. I left felt sickening to my stomach. The exhibitions made everybody doubt China and their evonomical growth. People often hated on China for obvious reasons. They don’t like China because they are racists. It could be that china’s economic advantage making them jealous. China has since grown large due to this misperceptions. Etc.
Visiting exhibitions that blend art with geopolitics often opens up profound personal insights, and the 'Couples' exhibition at MoMA is no exception. The showcase masterfully uses the imagery of Frida Kahlo and Diego Rivera—not only iconic artists but also emblematic of turbulent relationships—to mirror the complexities of current global tensions. One of the most striking aspects I noticed was how this exhibition challenges viewers to reconsider loyalties amid ongoing conflicts, especially through the lens of China’s evolving identity. The depiction of China’s poverty alongside its economic ascendance captures the contradictions that many of us observe in daily news cycles. It made me reflect on how economic growth often coexists with social control and how this duality shapes public perceptions both domestically and internationally. The narrative also highlighted the nuanced anxieties experienced by couples, singles, and women living through these uncertain times. For instance, the way the exhibition referenced events like the hypothetical Hong Kong fire in 2025 resonated as a metaphor for lost innocence and recurring crises—common themes in both art and political discourse. As someone who has encountered the fraught political atmosphere firsthand, especially in diverse urban centers like Toronto, I found the depiction of individuals trying to negotiate their identity and acceptance amid such pressures particularly poignant. Their gestures of seeking favor with China, as observed in the exhibition’s narratives, underscored the human side of geopolitical chess games. Moreover, the exhibition’s use of Greek mythology as a frame for understanding China’s current tensions added a classical dimension, reminding us that myths remain relevant in interpreting modern power struggles. It also illustrated how international actions often mask deeper motives, as seen in the critique of Western sanctions and blockades. Overall, my experience with the exhibition reinforced how art can serve as a powerful lens to explore the intersection of personal lives and global affairs. It invites us to question not only where our allegiances lie but also how empathy and understanding could evolve amid conflict and change. For anyone interested in the crossroads of art, politics, and human experience, this exhibition offers a rich, multi-layered encounter.
