I was simply fascinated by Shy Gong's website-there was no visual space for the eye to rest. Colours and energy exploded on every page promoting his work, practice and collection. After having gone through the webpage several times and frantically trying to deconstruct the mystery behind the aesthetics, I come up with more questions than reassurance. The official website for Shy Gong Art Studio is available in Chinese and English-the former important for the organisation's cultural identity (which is essential to the artworks) and the latter for an inclusion of non-Chinese audiences. The easy navigation, fashionable design and the bilingual texts seem to suggest an emphasis on accessibility.

In the artist statement on it its homepage, Shy Gong Art Studio states that through art the artist collective (along with technicians, designers and other staff in the group) strive "to discover the inner quality essence of Taiwan culture [through] art action, offering [their small] contribution to the ever-changing cultural trend of Taiwan." The mission of the studio, led by the artist Shy Gong who grew up in American culture, resonates with an almost religious passion for Taiwan. Taiwan is and does become the theme of the site and its mandate.

It is impossible to penetrate the series of three videos Fu-De Temple without knowledge of its context. The videos evolve around the presidential election of 2000 in Taiwan. To provide some background, one should note it was the second such democratic election in Taiwan and the first time that the Democratic Progress Party held political power after half a century of the Nationalist Party's (KMT's) dominance. Shy Gong's studio made a piece of installation/sculpture, a face made of rainbow neon tubes, where it was placed in the bustling Liu-ho night market. In the videos, various members of the studio engage with the artwork, undertaking actions reminiscent to frantic voting schemes. A Chinese would certainly understand the intent of the work and as Shy Gong states, "the political issue of a presidential election will be elevated to the level of religious faith so as to convey basic tune of religion to a national faith (2004 Fu-de Temple III)".

The video is a useful tool to introduce Taiwanese political history to a public not aware of its dynamic beyond the island-state nation. Shy Gong's devotion to his cultural roots and community establishes his practice as tied to a significant contemporary Taiwanese art market; however, by his presentations and , the artist risks a permanent merging with his native country. Categorization certainly does assist art historians in navigating through diverse art practices, yet in accepting label for an artist like Shy Gong, all communities risk losing cultural meaning and/or creating an unfair stereotype of Taiwanese affairs.

To further contextualize the reception of Shy Gong's works, one should consider is this exploration of identity the sole intention of Shy Gong's art? Likewise it is important to consider how accessible are the artworks when some utilize Taiwanese Mandarin as their language base-an incomprehensible language to non-Mandarin speakers and one abstract even to those from elsewhere? To this extent the Chinese subtitles present do assist an Asian driven language market but drag further alienate an English speaking market?