Of an expressive and unrestrained art in the same open-minded age, the stage extends from local to the international arena. What is being sought is a face bearing traits of distinctive local characteristic, an extraordinary and independent sign. ?

Owing to natural differences in histories and surroundings, Taiwan, Japan, China and Korea each develop their own social structures and cultures that reflect national disposition. The historical unfolding of art also reveals original observations and traces according to the pulsation of time.

Contemporary is the accumulation of history; every epoch means an opportunity right here and now. Throughout the century-long art history of Taiwan, there has appeared important events one after another. The recent decades especially are a lot of happenings, witnessing an outburst of profound and inward expressions like traceless waves coming in and going out. Contemporary Taiwanese artists, who appeared on the horizon in the 80s, particularly tend to have a rich cultivation in regional literature and a direct link to an awakening of sense of nativeness after the Martial Law was lifted. They shouldered responsibility for the future development of Taiwan, engaging in a re-reading of history and re-examination of social phenomena in a humorous, ironic, critical and introspective way.

Wu Tien-Chang’s “Icons of History” is an illustration with special emphasis on the age-making heroes. Yang Mao-Lin’s “Made in Taiwan” sets out to search for a new totem for Taiwan so as to write a new myth. Cheng Chien-Chang, with honest sincere human faces, exhibits the vitality originating from the earth. Su Wong-Shen utilizes the animal dog as a metaphor to represent the population ecology in Taiwan. His overlooking observation point shows an alternative sense of humor. Hwang Jyi brews brilliant deconstructionist thinking from mysterious wonderlands of interwoven and complicated images. Huang Ming-Che uses intertwining color threads to wave a world of sensual pleasures and a solid of cool beauty that tells an obscure tale of the metropolis in a cool manner. Lee Ming-Tse frankly pours out his dreams, his humors, his surroundings, his compassions and his melancholy. Lin Wen-Chiang searches for an expression characteristic of the earth and primitive life-force from farmers of large and stout build. Lu Hsien-Ming loudly pronounces a foregoing morale and attempt with precise and firm structures of overpasses.