Ko Si-Chi believes that a good portrait should radiate the subject's personality and liveliness. Through his cameras, Ko captures the facial expressions and postures of his subjects to represent the sincerest scene in the moment. In YANG Yu-Yu, Ko made the closeup of Yang's head resemble to the subject's beloved art medium, stone, showcasing the spirit lying in the subject's heart.

In the Faces of an Era Series, Hsieh Chun-Te photographed many artists, literati, and actors who are important to Taiwan's arts and cultural scene. Every portrait in this series is itself a story depicting the era, and this series is the artist's long-term devotion spanning over one decade.

Inspired by the idea of judgement in traditional Chinese Buddhism, Daniel Lee combined portraits of people of different ethnicities, ages, and styles to create a unique perspective on biological evolution. The Judgement Series is made up of humorous and imaginary works that bring together Eastern and Western philosophies. Lee resorted to digital editing to retouch authentic photos, developing a unique life philosophy with the use of "hybrids" and "morphing."

Chiu Kuo-Chun purchased an expensive set of sex doll from Japan, giving her an identity by naming her Sato Imako, involving her in different activities, and photographing her as if she’s a real person. The personification of the sex doll was a sarcasm about the frenzy for Japanese porn stars when they visited Taiwan in the 2000s and the bizarre social phenomenon resulted from their visit.

Liao Chi-Yu’s Miss Nice-looking is inspired by human bodies and how they respond to other agents. Beginning with everyday events, though, Liao arranged special plots and outfits for this work to convey paranoid feelings and experiences and highlight the paradox found in this realistic yet surreal scene, while revealing the ethos of the time – self-care.

In his Farewell to The Fox, Teng Po-Jen uses the outfits and performance to reminisce about his 20s, raise questions to the younger generation, and illustrate the generation gap. Conversations are provoked by these images where Teng re-examines his youthful days and confronts the present, the past, and the future.

Double is an image reflecting the irrepressible human desire. “You get what you eat” is the philosophy of food in Chinese society. In this image, the artist is economical with the use of subjects. No humans are seen in this piece of work because they are useless here – they are just greedy and incapable consumers.

Huang created his I Series with post-modern artistic approaches such as appropriation, collage, and simulacrum, making his works deviations from the very act of sex. A collage of thumbnails from porn was used to create these self-portraits, where Huang explored and experimented with new visual languages while injecting a touch of fantasy and mystery in his works.