Is the tragic present of the eyes—tethered to images—our destined future? Contemporary painting seems to resist that notion. The questions painting raises today are not mere lamentations over a ‘lack of hope,’ but starting points for expectation and astonishment—for a ‘holy moly’ astonishment yet to come. Our eyes are already sensing discomfort, even if they remain fixated on screens for now. Images are the world, and the eyes are the body we cannot cast off. In this condition, painting begins to search for what cannot be seen. It offers a new ground—one where the eye may break away from both image and vision. Suejin Chung seeks to understand the visible world by visualizing the invisible consciousness through painting. Rahm Parc proposes a practice of seeing and moving with the mind, in order to escape the limitations of today’s ‘visual’ environments. The eye, detached from the ‘visible’ conditions we now stand on, has begun to work in active alliance with what is unseen—consciousness, mind. This is not a return to some transcendent eye, but the stirring of sense and thought toward the world. “The eye has come take off. What do you see?”