Zheng Jiang's installation work The Longest Way consists of three components: a tower-like structure built from beehives, a video recording of a beekeeper repeatedly kneading a piece of beeswax with his hands, and a disc-shaped object made of beeswax. The conception and narrative context of the work stem from the artist's father, who suffered an accidental fall due to his hobby of beekeeping. The artist seeks to explore themes of adversity and how individuals or communities confront it. He collected numerous used beehives and constructed a monumental structure in the exhibition hall—a tower that also functions as a space visitors can enter. Inside, a video recording of the artist's father at work is played, serving as a reenactment of memory. The circular form of the beeswax is interpreted by the artist as "the shape of the sun," once again suggesting that the entire work points to the sublimated energy of the body in the face of adversity. Through the beehive tower and the beeswax disc—the warmth of the labor of the father’s generation solidifies in the material, and the clarity of the beeswax represents a purification of blood memory. As Freud said, "Fortunately, what the mind has forgotten, the body has not."