To continue the question of previous work "Art OEM─X’mas," which is according to Karl Marx, surplus value refers roughly to “generic gross profit” exploited from the laborers, which is the difference between the labor value and the wages for the labor. This is the labor occupied by the capitalist unpaid. Then we have to interrogate whether the surplus value of artworks rely on its exploitation of the labor of artist. The artist put the question further in the work "Art OEM─Obason". During the Plastic-91 group exhibition at TNNUA in 2003, the artist posted several Ads showing "Do You Need Any Temporary Worker? Art OEM." and leave her phone numbers below. In addition to helping other artists to install their works or involving in the production of the works, she also did the purchase, handling and loading materials, adjusting lights, hanging paintings, and cleaning the venues of exhibition. The only requirement for the cost, it is "Taking photos with great artists and great artworks together, then I'll be satisfied and grateful!" This requirement, along with the photos as documents are displaying in the exhibition, “the labor exploit” become ambiguous as a turning point of this work. “Who actually helped whom to finish whose work?” also seem paradoxical. In the production of contemporary art, increasingly emphasize on concepts of works rather than making by the artists’ self. The artists and their technical team behind, the curators, even the professional exhibit companies, there is also layers of intricate relations and power of authority under artworks making and exhibition commissions.