"Delusional" is a photography exhibition that presents two bodies of work in parallel, focusing on both the concept and the exhibition design. The series 'Portraits of Thai Citizen' by Manit Sriwanichpoom discusses the true story of a drug suspect tortured into confessing by a group of police officers using multiple bags to cover his head. This refers to the 'Joe Ferrari' case in 2021. Later, Joe Ferrari committed suicide in prison, a death that remains a subject of doubt. The transition from black bags to bags with a 'National Flag' pattern symbolizes the agony of this horrifying event at a micro level. It reflects a horror at the macro level, using the colors of the national flag as a medium. The exhibition features photographs, installation art, and looped CCTV footage of the torture incident.

The series 'Failing Dreams' (2019) by Akkara Naktamna consists of photographs of the Democracy Monument captured from a TV screen with signal interference. There are 13 images, corresponding to the number of successful coups in Thailand. A new work, 'Felling Dreams' (2026), uses a vintage television to display the looping faces of the coup makers from those 13 instances. The titles are designed to be read in a loop, cycling back and forth between the two works (ฝันล้ม-ล้มฝัน). If 'Failing Dreams' (ฝันล้ม) represents the passive, 'Felling Dreams' (ล้มฝัน) represents the active—these two states cycle endlessly. The installation also features a CCTV camera placed on the television, capturing the images of everyone staring at the coup makers.

The exhibition is divided into two parallel long halls. The first hall tells the story of people tortured by those in power. The other hall discusses the same issue but at the level of citizens whose rights and liberties are being violated. In the first hall, photographs show handcuffed individuals with their heads concealed by flags. In contrast, the other hall reveals the faces of the coup makers and images of the distortion of Thai democracy along the walls. While the first hall screens the horrific event from CCTV, the next hall uses CCTV to record our every action. At the end of both halls lies the evidence of being 'Delusional,' a state that occurs continuously and endlessly, even at this very moment.

These two exhibitions address the concepts of the passive and the active through the artworks and parallel exhibition design, sending messages to one another. This narrative might stimulate the conscience of those who act against others, suggesting that ultimately, they themselves might be acted upon in a condition no different from the images seen on the interrogation room CCTV.