This movie ticket stub serves as a record of cinematic exhibition in the early 21st century. It specifically documents attendance at a showing of Kim Ki-duk's "3-Iron" at the Quad Cinema in New York City on Sunday, May 15, 2005, at 8:25 PM. Located in Auditorium 4, the ticket was categorized as a senior ticket, with a price of $6.50, which provides data on the pricing structure of movie tickets in 2005. The ticket, processed through a Simpson ticketing system and designated to Box 02, reflects the standardized procedures of cinema attendance at that time. The ticket's physical composition offers insights into the technological and design practices of the period. The method of printing is likely thermal-transfer. The partially visible barcode demonstrates the growing implementation of automation in ticketing systems. The typography represents the visual communication trends prevalent in the entertainment industry. The "Senior" designation indicates the application of demographic-based pricing strategies. The reverse side displays the triplicated standard legal disclaimer – "Valid for the date and time of performance only. Management reserves the right to refuse admission." This repetition illustrates established cinema management policies. The purple background, black text, and film strip motif are representative of graphic design trends common in the early 2000s, utilizing imagery related to cinema. The ticket's condition suggests careful preservation. The seller's provision of further information and images supports a practice of detailed documentation. This artifact relates to the Quad Cinema, an independent film institution in Greenwich Village, Manhattan, recognized for its focus on art-house and foreign cinema. The screening of "3-Iron," a South Korean film, is consistent with the Quad's programming choices, reflecting the increased globalization of film distribution and the accessibility of international cinema in the United States during the early 2000s. Further investigation into the Quad Cinema's programming during 2005, in conjunction with research on the film's release and critical reception in New York City, could expand the understanding of this object as a primary source document.