In an era saturated with homogenized, glossy, and algorithmically optimized product imagery, anything related to categories of decay and ruin acts as an antidote—a way to temper the excessive, unnatural tension. On the other hand, ruin itself easily becomes an object of aestheticization. Aestheticization is a consequence of depersonalizing the cause of destruction and alienating the viewer from what they are observing. Therefore, the exhibition turns to the agent of destruction.