In the 2010 Taipei Biennial, beside the aforementioned parts of Contemporary Art Alchemy, X Trees in Taipei was also invited to participate in the exhibition. The project was about trees that died because of the 2010 Taipei Flora Exposition. The idea was to establish a monument for each dead tree. I auctioned part of my exhibition space at the Taipei Biennial online, and used the income to pay for the high costs of large stones as materials.
I advertised in two major art magazines in Taiwan (ARTCO Magazine and Artist Magazine, announcing that my partial exhibition space of approximately 175 square meter at the Biennial is for sale to the highest bidder. A Taipei gallery won the bidding and planned three exhibitions during the Biennial. Documents of Taipei Biennial Exhibition Space for Auction, magazine advertisements, and my lease was exhibited on the walls outsides the auctioned space, adjacent to X Trees in Taipei, and also next to the exhibition space of Contemporary Art Alchemy.
The content of an exhibition is at the mercy of the knowledge about art, the institution of art, as well as sponsors. This power structure determines the content and the results of the exhibition space. The City Government has control over urban space. The museum is part of the city government, while the Biennial is a biannual event held on a regular basis. The curator of the exhibition is born from the power structure of knowledge and the institution, while artists and artworks are selected according to the theme and concept of the exhibition. After that comes the allocation of space and resources, and then it comes down to installation and decoration for the exhibition.
As part IV of the Contemporary Art Alchemy, Taipei Biennial Exhibition Space for Auction auctions the space provided by the Taipei City Government to gain funding for X Trees in Taipei . This piece is the protest against Taipei Flora Exposition’s damage of the environment and over-consumption of resources. In a sense, this is a way of using one’s own force against oneself (or in other words, borrowing arrows with thatched boats). At the same time, it reveals the complicated relationship between art institutions, curators, artists, and sponsors. This relationship may seem invisible, yet really does exist.

2010年的台北雙年展除了前述〈當代藝術煉金術〉的三部曲，〈台北的X棵樹〉計劃也獲邀參展。〈台北的X棵樹〉這項計劃是關於籌辦2010台北國際花卉博覽會而死亡的樹木，初始構想是替每一棵死亡樹木立石碑。我於是將我雙年展的部分展覽空間在網路上拍賣，以所得的經費支付購買石頭的龐大費用。
我在台灣主要的兩家藝術雜誌（典藏今藝術、藝術家雜誌）刊登廣告，宣告在網路上拍賣我雙年展裡面約175平方米的展覽空間，最高金額的競標者將可在雙年展展覽期間使用這部分的空間。這個空間最後被一家台北的畫廊標走，在雙年展期間他們自行策劃、執行了三檔展期。〈網拍台北雙年展空間〉這件作品的文字文件、雜誌廣告及租約分別放在拍賣空間外面的展牆上，緊鄰著〈台北的X棵樹〉，並接續在〈當代藝術煉金術〉三部曲之後的展覽空間。
一個展覽的內容，受制於藝術知識、藝術機構的權力與機構的贊助者，這個權力結構支配了展覽空間的內容與最後結果。市政府掌握了整個城市的空間，美術館是它的機構，雙年展則是該機構每兩年既定的節目，策展人在知識與機構的權力結構中產生，藝術家與作品又依展覽主題與理念挑選出來，然後是空間與資源的分配，最後剩下來的就是佈展與裝置的事了。
〈當代藝術煉金術〉第四部曲〈網拍台北雙年展空間〉用臺北市政府機構的空間拍賣籌資，做〈台北的X棵樹〉這件抗議2010台北國際花卉博覽會過度耗損資源並造成生態環境破壞的作品，應驗了「草船借箭」這句成語。同時，它也揭示隱形但存在於藝術機構、策展人、藝術家、贊助者之間的複雜關係。

◆《當代藝術煉金術》四部曲〈網拍台北雙年展空間〉2010｜數位輸出｜過程文件：55 x 189.8 cm，文件：42 x 29.7 cm