'Taiwan’s contemporary art scene became globalized in the late 1990s as a result of the influx of institutional resources, human resources, and ideas influenced by the expanding local economy. Examining the artistic and creative realm during that era, young artists back then were energized by the new subject of globalization. The artistic expression of “NG (No Good)” is a syndrome, rather than a conceptual or ideological reference, that engages in conversation with subjects of contemporary art and social science. NG embodies the attitude, necessity, technicality, and strategy of being in dialogue. Particularly in Taiwan, NG becomes a stylized, temporary, and confrontational ethos. This notion is initiated by a conflicting sentimental struggle between admiration and rejection of an aesthetic model. Subsequently, this innate desire to converse and interact is further driven by the mechanics of a repressed cultural history.'  — from gallery's website.

台灣當代藝術養成的全球化環境，是九○年代末以國際接軌為名匯聚不同機構資源、人力和想法所打造的。如果我們聚焦到當時年輕藝術家真正關心的問題上，即「進入全球化」，我們可能不會只想到無厘頭是一種頓挫之術這種「國內政治」的精神分析版本，而還有一種跟後續發展更具連結性的「攻克全球化」的精神分析版本。這種與國際生態關係密切相連的內在連結，不是任何超越或進口的內在性，而是與自身生命不可切分的生態連結，這連結就存在於文化與經濟殖民的生命政治治理中。
NG（No Good）在這些藝術表現中不是形式或觀念的指稱，而是癥候，這種癥候的特殊性在於以「範本」作為潛在對話對象，所謂的「範本」則幾乎涵蓋當代藝術與人文科學的討論課題。NG是一種「對話」的姿態、必要性、技術和策略，NG對於臺灣的意義或說表達出的發聲位置，是一種特殊化、臨時性、游擊式（逃逸式）的「ethos」。NG的主動性來自於對典範同時產生的崇尚與不滿兩種相互矛盾的情感，因此其機制是因壓抑而產生的動力，因此，這動力的本質就是渴望「對話」的。(摘自畫廊網頁)