This project was derived from TOA Lighting, but makes even a bigger fuss over an even smaller issue. In all apparent seriousness, Chou Yu-cheng pointed out importance of a pure white color to neutral display spaces to the Kuandu Museum of Fine Arts, and persuaded them to change the colors of their rooms. This kind of nitpicky objection is highly representative of Chou Yu-cheng's sly modus operandi. While earnestly haggling with the museum over the tones of its walls, he also quietly sent Rainbow Paint to the museum. Obviously Chou Yu-cheng didn't just send a standard color, but instead sent a brand, a company, and a link. The matter of "paint" is very much like the "fluorescent lights" or things such as hanging hooks or pushcarts; they exist largely unnoticed in an art museum and serve to complete and perfect numerous exhibitions. However, we very seldom realize that they represent entire industries; they have manufacturers, factories, orders, and sales channels. In a similar way, the art museum/gallery system comprises a huge art industry. In Chou's eyes these items are means of interpreting and examining the "art ecology," and are tools for manifesting the flow of resources in the art ecology. Because of this, just as always, after the exhibition had concluded, the company-sponsored white paint was donated for use in exhibition spaces where pure white was called for.