In one landmark piece, “The oneness of the five colors blinds the eyes,” (2009), a number of sheets of Polaroid film are removed from the camera before a single shot is taken, producing nominally white images of a process of automatic exposure. This process is analytical in spirit, but the resulting work is courageously poetic in a way that its progenitors–critical media artists like Liu Wei and Zhang Peili–would generally avoid. This compelling work points towards a direction of intellectual exploration that pushes rigorous concepts to their formal extremities as a way to both define the matter at stake and reframe the language that circulate around such questions within the narrow field of contemporary art in China.

(Robin Peckham, Cameras, Printers, TV Sets and Computers, 2009[Excerpt])