Yun Hsiang Wang presents her MFA thesis, 日花仔 jit-hue-á / A Slow Parting (2026), at the Olive Tjaden Hall Experimental Gallery in Ithaca, New York. The exhibition explores grief, memory, and Taiwanese funerary rituals through performance, installation, photography, and archival intervention. Drawing from the rituals of the first seven days after death, known as Tou-qi (頭七), the exhibition approaches death not as a singular rupture, but as a gradual process of accompaniment between the living and the departed. Rooted in repetition, ritual gestures, and bodily endurance, the work examines how mourning is performed through acts of chanting, waiting, kneeling, touching, and remembering. Influenced by theories of liminality from Arnold van Gennep and Victor Turner, the exhibition inhabits unstable thresholds: between presence and absence, remembering and forgetting, visibility and obscurity, life and afterlife. Through durational performances, obscured family photographs, coin-tossing rituals, and fragmented archival timestamps, Wang investigates the tension between the desire to preserve memory and the inevitability of its transformation and decay. Rather than seeking closure or resolution, A Slow Parting lingers within grief as an ongoing condition. Repetition becomes both a ritual structure and an embodied act of remembrance, where the body functions as a vessel through which memory is continuously reenacted and reshaped. The exhibition ultimately proposes grief not as something to overcome, but as a liminal space in which relationships persist, fragment, and continue to unfold over time.