To Michael Lin, exhibition is the 'medium' of his work, which does not end when the show finishes, but continues with the publication of the catalogue. An example to illustrate this is his solo exhibition at the Dimension Endowment of Art in Taiwan in 1998.
Lin divides the daily exhibition time of seven hours and thirty minutes into 37 days, each 12 minutes representing one day in its own right. Using 12 minutes as an interval, Lin photo-documents the accidental nature of exhibition space and changes in the light, from the same fixed angle, at different times every day. The progressive recording of time is collected in the present catalogue, and thereby becomes an integral part of the work itself, in other words, a complimentary material of the exhibition.
Looking at the exhibition space filled by Michael Lin, with cushions in covers printed with floral patterns taken from traditional Taiwanese folk art, Frances Starck, an artist based in San Francisco, elaborates on the dichotomies between private domestic space and public exhibition space; the role of a housewife and an architect; the relationship between high art and decorative art.
This catalogue includes a biography of the artist.