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Although COVID-19 has commonly been narrated as an impediment to the arts, I argue that it also offered exciting new opportunities to engage audiences with exhibitions focus on public health crises. In this article, I reflect on my experience of curating Picturing the Invisible with students at Technical University Munich (TU Munich) during the COVID-19 pandemic. Organized in memory of the 2011 Great East Japan Earthquake, tsunami and nuclear disaster, the exhibition was shown at the Royal Geographical Society, London (October till December 2021) during the so-called "second wave" and at TU Munich (June 2022) amid the rise of the Omicron Variant. Departing from the common tendency to narrate events as having been successfully organized despite the pandemic, this paper presents the virus as co-creating—perhaps even co-curating—the exhibition. To do so, I provide a brief overview of Picturing the Invisible, before going on to analyze the role that the virus played in calling me to organize this project (as both a researcher and as a lecturer), how it has made it logistically possible, and how it presented new opportunities to engage foreign audiences with the experience of Japan's triple disaster. [ABSTRACT FROM AUTHOR]