“[Art] is breaking free.” concludes Jerry Saltz, in his New York Magazine review of the Bowery’s New Museum triennial, “The Generational: Younger Than Jesus”. (April 20, 2009; p. 67-69.)
Saltz wrote that the triennial “indicates that the alchemical essence known as the sublime, the primal buzz of it all, is no longer in God or nature or abstraction…that the sublime has moved into us, that we are the sublime; life, not art, has become so real that it’s almost unreal.” [Emphasis Added.]
This is exactly why the work of Francis X. Pasion, in “Jay”, hit me. In “Jay” life comes at you so real that it indeed becomes unreal. Herein lies the emotional power and merit of “Jay” for it turns our reality upside down. “Jay” asks us the questions about the spectacle of loss through death and of ourselves (which is what sublime art is ultimately about). Nothing about the film placates.
Of no coincidence, the triennial’s artists were all born after 1976 (and are therefore under 33, the age of Jesus’ death). Francis X. Pasion was born in 1978. (Unfortunately for me, I don’t make the cutoff as I was born in 1976! Acceptance is bliss too!)

In one of our talks, Francis had posed the question to me whether everything in life is pre-determined despite the independent choices we have the privilege to make (since in most instances, no choice really exists). Yet again and again, the end result of the life experiences that we examined affirmed that all of life is predetermined. For real!
Now, it is not a coincidence that as Francis comes to New York City for the first time to screen “Jay”, the under 33 artists exhibit of the New Museum opens. In fact, we made it to the New Museum but did not have enough time to view the exhibit! Then again, there was no need as we were in the company of one of them already—all “Younger than Jesus”, these rare cadre of artists, core of the sublime.