Umber Majeed’s exhibition, J😊Y TECH, currently on display at the Queens Museum, offers a unique and innovative exploration of the intersection between diasporic Asian aesthetics and early internet culture. Drawing inspiration from the visual vernacular of phone repair stores in the Jackson Heights neighborhood of Queens, Majeed creates a digital universe through augmented reality, video, drawings, and ceramics. This one-room exhibition showcases some of the most technically inventive works I have seen, delving into the rich cultural heritage of South Asian digital kitsch.
The exhibition is steeped in technological nostalgia, particularly from the 1990s and early 2000s. One standout piece is “Untitled” (2025), a mesmerizing one-minute single-channel video displayed on a special screen that simulates a three-dimensional box. The floating objects within the box, including a hand-drawn Apple logo, CD-ROM, floppy disk, and a Mughal dome, serve as a repository of collective memory.
AR elements feature prominently in the exhibition, with works like “zoom in” (2024) inviting viewers to interact with the art through their smartphones. By pointing their phones towards the drawing, viewers can unlock hidden animations and references to South Asian culture and history. The use of AR adds an interactive layer to the exhibition, blurring the lines between the physical and digital realms.
The exhibition also challenges traditional notions of display and boundaries, with bold neon frames coloring both analog and digital elements. The recurring motif of a grid, reminiscent of both small business flooring and digital space, reinforces the theme of blending real and virtual worlds. Works like “Timeline” (2024–25), a massive vinyl wall piece, further emphasize this fusion of physical and digital landscapes.
While the exhibition is technically impressive, some works may require a deeper understanding of the cultural references to fully appreciate them. Pieces like the untitled video work, which mimics the sensory overload of social media, may leave some viewers feeling overwhelmed. However, works like “WE CAN FIX IT” (2025), a signboard featuring faded photos of defunct devices, offer a poignant commentary on the collision of diasporic visual languages and dominant cultural forms.
Overall, J😊Y TECH provides a thought-provoking exploration of the cultural anxieties and excitements of a generation caught between diasporic heritage and digital innovation. Umber Majeed’s work challenges viewers to rethink their perceptions of aesthetics and cultural hierarchies, inviting them to engage with the complexities of identity and representation in a rapidly changing world.
