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Released in the second year after the global COVID‑19 pandemic, Maud Momo 27 resonates with a generation whose social interactions have been mediated through screens. The video’s preoccupation with “virtual rooms” and “online rituals” (e.g., scrolling through endless feeds) captures the paradoxical intimacy and isolation of digital connection. Critics such as Lina Martínez (2024) have noted that the work “encapsulates the collective yearning for tactile experiences that have been supplanted by pixelated substitutes.”

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