A Yellow Line Across the Wall

A yellow form at Tainan Art Museum crosses a series of circular mounts, loops downward and gathers on the floor. Beside it, a dense brown mass barely leaves the same white wall.

Huang's contribution to 《黏膩關係：內餡 // 縫隙》 combines remade older work and new work, developed from the temporary placement and accumulation of ordinary things.

Farther in, Chan Yung-jen has placed a capsule-toy machine in the gallery. Visitors can obtain small objects from it, making exchange part of the work and letting an object seen in the museum leave with them.

Wang Guan-Jhen's paintings hold figures and scenes before a decision, action or reply. A plinth of small dark objects stands between them.

Yen Yu-ting's dark surfaces are densely marked, with writing that does not resolve immediately. Recent work in her practice brings ink, colored pencil and dry brush onto Japanese hemp paper. Seen close, the marks separate without settling into an easy reading.

Another room gathers repeated red forms, numbered knot-like ceramics, soft folded objects and small wall pieces.

Tsai Ting-bang's family photographs and illuminated document tables bring the exhibition's family language to one relationship. The woman in the photographs is Zhang-jie, Tsai's mother. She built her own economic life as a businesswoman, and Tsai's account of the project describes a collaboration that changed as she increasingly trusted the camera, sometimes choosing to perform for it.

Zhang-jie's decisions shape the images. In the current room view, a visitor bends toward the illuminated documents while Zhang-jie's photographs remain upright behind her.