Then located in a basement, the Spring Gallery displayed two experimental spatial works in 1984 and 1985, the August 1984 Play of Space, which was acclaimed by the contemporary media as a "spatial revolution" and "spatial atomic blast," and the May 1985 Play of Space II. Later, in view of the influence of Play of Space, the Taipei Fine Arts Museum, which was established in 1983, held the August 1985 special exhibition Colors and Shapes—Avant-garde, Installations, Spaces, which featured the foregoing work as a model. However, interim museum director Su Jui-ping unexpectedly criticized participating artists Chang Chien-fu, Hsu Yang-cong, and Chen Chieh-jen during the course of setting up the exhibition, and a lawsuit even occurred when the director kicked and damaged a work. Afterwards, in April 1986, the "anti-establishment" and "anti-museum of fine arts" spatial exhibition Living Clay　was displayed for the first time in an empty apartment in Taipei's Eastern District… .

On one hand, the historical significance of some events depends on our current perspective, which allows us to rediscover things that occurred in the past, but could not be interpreted at the time. On the other hand, the passage of time allows the importance of the point in time at which the event occurred, and an overall historical picture, to finally emerge as the event's historical trajectory becomes clear. These two aspects allow us to construct a new perspective as we trace the course of past events. This exhibition, which attempts to review history, contains the four subtopics of "intervention in society through art", "gender images space", "forgotten persons", and "local resistance fronts", and reconstructs a local outlook that was inspired by Western modern art, but emerged and took root in the soil of Taiwanese society during the 1980s.

This exhibition attempts to trace, based on media research, the foregoing historical trajectory, present the rapid development of art under Western influence from the early to the middle 1980s, and examine the strong collective resonance between art and society around the time of the lifting of martial law in 1987. However, apart from collective phenomena, this exhibition also looks at the subtle yet important omens revealed by individual historical events, and proposes that not only did Taiwan embrace the "multi- modernities" of the Western modernist style during the 1980s—a period in which modern institutions were established in Taiwan—but also used this multi-modernities to construct the unique "spatial politics" that characterized the era.