Touch My Mumblings, Hug My Words, Kiss My Singing ran 6 January – 6 April 2023 at the Denchu Hirakushi House and Atelier in Taito, Tokyo — the preserved home and studio of the modern Japanese sculptor Hirakushi Denchu (1872–1969), operated by Tokyo University of the Arts. The exhibition was the founding project of (O)Kamemochi, an intercultural curatorial collective co-founded by Sun Kim and Alissa Osada-Phornsiri to weave intergenerational memory through performative walk-throughs across artists, performers, and soundscape. Curated by Sun Kim, Chloe Paré, and Finn Ryan, the show brought together ten artists, three live performers, and a sound design by Leonid Zvolinsky.

Wang's contribution placed Blue (2022) at the destination of the visitor's journey: a small isolated Japanese room with projection and stereo speakers, in which the Blue Dream monologue — first performed live eight weeks earlier — returned as studio recording with newly added Japanese subtitles. Visitors were brought through the exhibition by dancers choreographed by another artist in the collective, ending in this room without Wang present in any physical sense. The work was made to be installable: the live performer's role had become a recording, the language of address had been translated, the body of the performer had been replaced by the body of the visitor.

For the practice, this was the first international staging of the Blue arc and the first test of the work as archive — the proof that Blue Dream's confessional structure could survive translation into installation, foreign-language address, and the artist's absence. The lessons of that test are visible in what follows: the architectural scale of Liminal Stranding (2023) the same year, and the algorithmic distribution of Shitalk (2025–) two years later. Blue Dream needed Wang's body in the room; Touch My Mumblings showed the work could travel without it.