Hundreds of phones, tablets, and video projections flash in dissonance. Water cascades over touchscreens, tapping, swiping, and scrolling through websites and apps. This endless flow of information animates the hypnotic whiplash of Yehwan Song’s multimedia installations. A Korean-born, New York-based web artist with a background in UX/UI design, Song stages dystopian fantasies of the digital world that subvert the notion of “user-friendly.” Saturating screens with fragmented images of her own body, Song leans into glitch aesthetics (or glitches), seeking out the loopholes and flaws that most interfaces work to conceal. Through immersive installation and interactive performances, Song hacks the design logic of machines, tinkering with her websites, videos, and sculptures to expose the hidden infrastructures of digital systems. While Donna Haraway’s Cyborg Manifesto (1985) imagines a fluid entanglement of human and machine, and Legacy Russell’s Glitch Feminism (2020) considers error and disruption as acts of resistance, Song mobilizes these ideas in the everyday mechanics of the internet.