The exhibition, centeredaround three independent keywords “Superstition, Blessing, Modernism,” presents the artist’s new body of "magic" paintings that are accompanied by a set of sculptures. Semantically deconstructing and parodying iconography and re-interrogating modernist painting against the backdrop of the globalized consumerism, the artist hopes to bless the viewer with the "superstition" in his work.

The concept was originated from his personal experience: he got lucky at a poker game with friends one day. He attributed his good luck to a painting that he bought that day. In fact, Zhou is not religious, but he believes in the agency of specific patterns and symbols, even though have no practical functions, theyare beautiful and magical, empowering people with spiritual consolation. Therefore, the protrusive subject in each painting is a rosary. The rosary blesses the event depicted in the backgrounds, be it two hugging lovers, or a pleasant vacation, or a comfortable office, or beautiful nature, or traditional art, or a modernist design, or folklore, or a religious ceremony.