The core idea of this piece flashes in my mind while accidentally damaging an artwork: Why can't an object be an object itself? Why do we need something else to describe and identify an object? This artwork expresses the notion of the presence of presence. And probably, it also refers to the dialectical thinking of linguistics, taxonomy, rhetoric, semantics, and pragmaticism. Walking into the exhibition, you will face two broken glass pieces—printed a white A and a white E, respectively—displayed on a blue styrofoam shelf at some distance. The caption next to it is printed with a long title: A composition of 17 vocabularies, starting with A and ending with E. The blue styrofoam traces and shows the process of how this set is transformed from simple material into artwork. It also reminds us to be more aware of the invisible details than the visible: the distance (negative space) between A and E (the spatial relation between this work and the venue), and the relationship between the fragmented A, the fragmented E, and the title. This whole set, including the title, illustrates new pictures of themselves under the guise of being themselves.