Interview with Choi Yanchi by Leung Chiwo Warren
 
In the second part of the interview, Choi continues to talk about how creating installations helps us think through the relationship between politics and art. She thinks installation art can go further when it comes to exploring the possibilities with readymades (00:00–14:15). Choi also explains between how the inward-looking nature of painting and drawing and the outward-looking nature of installation art lead to different treatments in the creation process (14:17–23:37). Choi explains why she chose to move to Canada in the early 1990s, and compares both the joys and travails of working in Hong Kong and Canada, as well as the differences between two art scenes (23:37–37:04). Towards the end of the interview, Choi criticises how art education lags behind the times and consequently, the art circle and its audience are not on the same page with regards to cultural and academic standards. Moreover, the role of the curators is overemphasised, and, at times, the influence of artists is overshadowed by that of the curators (37:04–43:58).  She thinks that there is no need to give Hong Kong art a definition (37:04–43:58).

此為梁志和與蔡仞姿訪問之錄音
 
在第二節的訪問裡，蔡氏續談她如何透過裝置創作思考政治與藝術的關係，並認為可以對現成物料進行更深層的探索 (00:00-14:15)；蔡氏也闡析繪畫創作的內向性跟裝置藝術的外向性在處理上的差異 (14:17-23:37)。蔡氏亦解釋九十年代初選擇於加拿大生活的原因，從而比較在香港與外國創作的苦與樂和兩地藝術環境的異同 (23:37-37:04)。在訪問的末段，蔡氏批評本地藝術教育的落後導致藝術界跟觀眾在文化及學術程度上出現差距；其次是過份突出策展人的角色以至掩蓋了參展藝術家的影響力 (37:04-43:58) 。蔡氏又認為不必為香港藝術下定義 (43:59-46:58)。