There exists balance in the seemingly conflicts and chaos. After his experiment with social realism that lasted until the end of the 80s, now he leans more toward neo-realism. For instance, his "Children's Conference" successfully exposed a wild imagination under a well-ordered life. The clear-cut picture exhibits purity of profundity. He used the innocent faces of children to satirize a game-like displacement and absurdity in adults' world. Viewers cannot but smile at his sarcasm. But more is to come; they'd find a group of kids are playing a very serious joke and may recognize the hidden absurdity of the bureaucratic system's inner logics beguiled in a funny appearance. A premature unhappiness is shown clearly on these naive faces. A meeting is no more than a play. Compare that to the truths and lies of our own life, you will find the play is worth further studying, though absurd. With a deep concern and profound sadness, Tang makes fun of the bureaucracy, of life, of the viewer, and of himself.

　　The "Blue Eyes" series, shows an even greater simplicity and profounder melancholy. The dreamy eyes that is as pure and as innocent as an ocean speak of chaos that are bound to happen, of a hybrid of blood and a confused mind. Tang Zhi-gong takes pure and naive babies as his tool to wave his bare Chinese myths.

　　In Tang Zhi-gong's works 2006, much more humor is added into the banter. Children's indoor stages also extend to the boundless land. Reflected to appreciators' smiles, Tang Zhi-gong's words as usual contain his special tragic sense. He said with seriousness, "I process my own extreme bitterness, to achieve the merry faces of the world."