U ji' Hahan' Handoko's Speculative Entertainment No. 2  forms part of an exhibition with the same title as part of ARTJOG's 2017 edition. Relative to an earlier work of the same series, Speculative Entertainment No. 1, it embodies the artists' commentary on the exploitation of artists and the art market. The canvas features the artist's comical figures rendered in his signature electric colours. The characters rush into the scene while waving parodic bidding paddles from major auction houses, surrounded by posters and leaflets referencing important art institutes and events such as "Documenta", "Tate", "Guggenheim", and "MoMA".

However, such a visual feast was not meant to be viewed by the audience. Instead, the twelve paintings, including the present work, were rolled up and displayed in tubes during the exhibition. Each roll is accompanied by an audio file recorded in Indonesian, analyzing the piece prepared by an art agent. The audience then visualizes the work accordingly and creates their interpretation of the piece, ultimately valuing it according to how the agent concludes. Through this presentation method, Handoko criticizes how the value of art is moulded and determined by agents of art such as critics, collectors and curators.

烏志·哈漢·漢多科曾於2017年的ARTJOG日惹藝術節中舉辦名為「投機娛樂2」的展覽，與展覽同名的本作是參展作品之一。《投機娛樂2》是同一系列的早期作品《投機娛樂1》的延續，漢多科透過本作批評藝術家及藝術市場被剝削的社會現況。本作以藝術家標誌性的鮮艷色調呈現多個幽默滑稽的人物。畫中行狀匆忙的人物正在揮動多間大型拍賣行的搞怪競投號碼牌，而四周都是寫上「文獻展」（Documenta）、「泰特」（Tate）、「古根漢」（Guggenheim）及「紐約現代藝術博物館」（MoMA）等意指多個重要藝術機構及盛會的海報及傳單，極具諷刺意味。然而，這場視覺饗宴並非為觀眾而設。整個系列包括本作在內的12幅畫作都被捲起來並收藏於圓筒內，在展覽期間亦只以圓筒的狀態示人。每個圓筒都附以一個印尼文的錄音檔，由一位藝術中介人分析講解圓筒內的作品。觀眾根據這個錄音的內容自行想像作品的面貌並作出自己的詮釋，憑著中介人的意見評價作品。漢多科透過這種呈現手法，批評藝術的價值被藝評家、收藏家及策展人等藝術中介塑造及壟斷。