OUM Jeongsoon has long explored the meaning of “seeing” through her work leading art education projects for the visually impaired. This exhibition presents approximately one thousand Braille books alongside sculptural and painterly works from her major series The Elephant without Trunk. Together, these works move beyond conventional modes of visual appreciation, expanding the perceptual field toward sensory multiplicity and alternative ways of knowing. Through traces that remain present yet unseen, the exhibition reconsiders the essence of perception itself. Subtle vibrations generated at the fingertips extend perception across touch, sound, and the body as a whole. The exhibition challenges long-held assumptions of visual dominance and opens a space for renewed reflection on sensory experience. Human perception has historically privileged sight, producing implicit hierarchies among the senses. Rather than simply revealing hidden sensory layers, OUM calls attention to sensory operations that often remain unnoticed within everyday familiarity. She proposes touch as one of the most immediate sites where body and world meet. Beginning at the fingertips, contact expands beyond localized sensation and becomes an embodied event. Unlike vision, which observes from a distance, touch functions relationally, producing mutual transformation between body and object. Here, perception is not presented as a means of recognizing objects but as a way of forming relationships with the world. A recurring motif throughout the exhibition is “Fuzz,” the minute residue formed through repeated friction and contact. Pilling resists translation into fixed imagery or intentional form. It symbolizes experiential traces that escape institutional record and linguistic description. Through this material, the artist reveals viewing as a process shaped by accumulated bodily experience and duration rather than image interpretation alone. The exhibition also addresses disappearance as transformation rather than erasure. Sensory encounters within the works remain embodied rather than fully translatable into narrative or visual representation, suggesting alternative modes of memory beyond language and image. Rather than presenting a singular interpretation, the artist allows visitors to pause, navigate, and reorient themselves within the exhibition space, temporarily suspending familiar perceptual structures. The exhibition invites reflection on sensory hierarchies and asks how we have learned to trust particular senses in understanding the world. Fuzz - Tangible Incident follows fleeting sensory moments while leaving open the possibility of experiences that remain unnamed.