The final collection of the exhibition, The Tragic Place, invites the viewers to imagine dystopian societies. Some artworks experiment with darkness in search of a gleam of light—a sense of hope or means for survival—while others take a closer look at a society where humans have exploited and carelessly used the world’s natural resources and can no longer sustainably coexist. Gloria Ge, Fangrou Zhou, and Yizhe Ling’s video In The Dark takes viewers into what seems to be a fantastical future in which air pollution blocks out the sun, entering this sunless world viewers experience the production of light and commodification of pollution as a failed search for hope. Adam Tarin’s Burn the Celluloid, a screenplay and film trailer, offers an expedition into a world consumed by darkness to understand the role of light in the medium of film, and the role of film media in the preservation of cultural memory. Martin Alfaro’s Future Absence depicts a world of waste where creations become the creators and embody those who have mistreated, misused, and misrepresented them. This photographic series sculpts body parts out of refuse. Disposable Home by Sally Xie offers a different perspective on being resourceful in a time where natural resources are completely depleted, but the world must continue to operate. Her videos juxtapose pristine 3D renderings of imaginary domestic products with material constructions for the same products fabricated out of used Amazon shipping boxes. The Tragic Place ultimately wants viewers to imagine dystopian societies in order to sense their importance to understanding Asier’s purpose of bridging the appreciation gap between humans and the world’s objects.