Rendered in translucent polyester fabric and stainless steel wire, this luminous sculpture by Do Ho Suh reconstitutes a domestic refrigerator with uncanny precision, capturing every surface, handle, and hinge of an appliance from his former New York residence at 348 West 22nd Street. Presented within an illuminated display case, the work floats between object and apparition, its pale fabric skin allowing light to pass through what would otherwise be an opaque, utilitarian form. The specificity of the address embedded in the title is no accident. Suh has long treated domestic space as a repository of personal history and cultural displacement, and by preserving this particular object from a particular home, he transforms the ordinary into something closer to a relic or a memory made tactile. The Specimen Series, from which this work originates, extends Suh's ongoing inquiry into the relationship between the body, belonging, and architectural space. Individual domestic objects are extracted from their surroundings and rendered in fabric, as though the act of remembering has bleached away solidity while preserving form. The result is a work that is simultaneously intimate and estranged, familiar in shape yet otherworldly in material. Measuring over two meters tall and presented as a formally complete sculpture, the work carries the quiet authority of an artifact, something precious enough to be contained and documented, yet soft enough to suggest impermanence and loss. Produced in an edition of three and signed by the artist, this work represents one of the most resolved expressions of Suh's practice currently available to collectors. Victoria Miro has long been a primary venue for Suh's work in Europe, and this piece carries the full critical and institutional weight of his internationally recognized career. Collectors acquiring within this series are securing not only a singular aesthetic object but a deeply considered meditation on what it means to inhabit, leave, and carry a place.