The two-channel video Echoing is a piece Yang Zhenzhong produced specifically for the Dunhuang residency program. Unlike the common horizontal format of video art, the two giant vertical screens signal the new image era informed by smartphones: a device that has become the indispensable electronic artificial organ attached to the human body. While the massive visual explosion triggered by the proliferation of short-form video culture has blurred borders of cultural identity and morality, it also offered us a visual dividend. Most of the material in the left screen was shot at the Echoing-Sand Mountain scenic site, where the artist adopted documentary filming techniques to inadvertently record tourists’ odd and bizarre postures in the desert – tourists wearing various styles of clothing from Dunhuang murals, posing as the iconic figures on the murals under the photographer’s guidance. The other screen slowly unfolds images from Dunhuang’s cave paintings in the manner of a traditional Chinese handscroll, scanning details of people, architecture, and landscapes. Subtle resonance and contrast between the two screens in rhythm and content instantly form an underlying alliance. In the context of the industrialization of culture and tourism, cultural heritage sites, including Dunhuang, have been transformed into iconic social landscapes with pragmatic attributes, and “mimicking” has become the easiest way for ordinary people to understand Dunhuang as “a sample of the sacred.”