Taiwanese artists in the 2000 exhibition showed a renewed interest in self expression and a progression away from experiences drawn by national themes. Artworks engaged with personal narratives and drew from everyday events. Lin Ming-hung's work used Taiwanese traditional designs and patterns reworked as a floor painting for viewers to experience; whereas, Chang Hsia-fei depicted consumerist interests and habits through video, installation and performance, where the residues of the event and its subsequent garbage became the artwork.

By 2002, the Taiwanese art community became more engaged with global art networks and began to contemplate its own placement and relationship to these communities. Taiwanese artists contemplated meanings of difference in relation to the global, and began to consider the arrival of new technologies as well. Taiwan experienced a rapid introduction of internet and digital devices like cameras, video recorders, all of which became part of the current social fabric and life style. Artists were quick to follow, utilizing digital media as both affordable and accessible delivery platforms for their projects.

Bartomeu Mari from Spain and Jason Wang from Taiwan curated the 2002 event and promoted the exhibition though its title the "Great Theatre of the World". This exhibition explored concepts related to globalization as examined mainly through photobased and moving imagery. The curators tried to present artwork that examined the interrelationships between media and the public in that year. Given this exhibition's theme, photography and video work dominated. Yuan Guang-ming, an original participant in the 1998 show, presented new video and photo works, which illustrated his own maturity of expression and confidence in his elect media. This work became pivotal, reflecting a balance between Taiwanese content and technology, and thus inspired a new generation of subsequent video artists.

To re-iterate, I became involved in the Taipei Biennial 2004 as a co-curator with Barbara Vanderlinden from Belgium. Our exhibition " Do You Believe in Reality?" addressed the worldwide effects of globalization. This theme was also for me a reflection on what Taiwan had experienced in the last decade. Furthermore, the theme seemed appropriate at a time when Taiwan was again radically changing and responding to the global market. As of recent, Taiwan has begun to import a foreign labour force to balance production demands despite questions of human rights related to employment and residency. Questions of global citizenship and its social implications as well as capitalist problems were addressed through this exhibition.

Taiwanese artist Chen Chieh-jen drew viewers attention in his work towards capitalism and labor problems in Taiwan's post-colonial era. Yeh Wei-li and Liu Ho-jang focused on issues revolving around Treasure Hill, an old community located in Taipei, where it has gone from a historical importance to a state today of decay. With a studio based in the local community, these artists interacted with local residents, using their experiences from the local to become part of a more extensive photographic and textual record. Kuo I-chen's work was emblematic of the adoption of technology artwork popular among younger artists.

Unlike previous biennials, 16 selected Taiwanese documentary films were also included as part of this enterprise, and they traced the nation's history and development from the 1990 to the present about local issues. Other participants such as English artist Jeremy Deller, Lebanese artist Walid Raad, and American artist Martha Rosler incorporated documentary elements and techniques in the presentation of their own works that complemented this element of the show. These works like the Taiwanese films reflected a desire of each artist to focus and re-narrate cultural phenomena in their own landscapes with hopes of new social awareness.

In conclusion, the Taipei Biennial has and continues to deliver a wide platform of ideas and concepts relating to Taiwanese contemporary art and international art practices. Through every delivery of the exhibition, Taiwanese art continues to grow strong as does a reciprocal understanding of Taiwan in the world - about its citizens, politics and geography. For local audiences a legacy of knowledge and inspiration is left behind and demarks the continued success of the local Taiwanese art scene between biennials.