In China, tanks are potent symbols of both power and censored events, most notably the ‘June Fourth Incident.’ One piece captures this tension with an inflatable plush tank, rendered in ‘young girl pink,’ symbolizing fragility and softness in Chinese folklore. The other artwork delves into the boundaries of digital realms and reality. It challenges perceptions, offering a serene contemplation before plunging viewers into a juxtaposition of the familiar and the uncanny, reshaping the essence of experienced reality.  Together, they form a critique on societal memory, power dynamics, and our willingness to reimagine and question accepted narratives.