「北冥有魚，其名為鯤；化而為鳥，其名為鵬。」藝術對於人類之價值，在其永遠站在文化最前端邊緣的「超脫性」。人們對於藝術的渴求，在欣賞作品之後，那如鯁在喉的「異質感」。「日常」是一座囚籠，帶來麻木、僵化以及極端的舒適感；所以我們近似瘋狂的尋求「非日常」的存在證據。各種的童話故事都在說明一件事、一種狂熱的追尋 : 「只要曾經窺見過一絲魔法的存在，就會燃燒生命的一切，只為了再看見一次奇幻。」所以對於「不存在之物」的追索，造就了傅柯所說「異托邦」的實體化；我們唯有在一個「異於日常」的空間，才能發展出「超越現在」可能性，因而出現了藝術家和美術館這般與社會格格不入的「異質感」。這就成為了「究極的無用」，沒有目的、功能、以及價值；然後那無用又變成了「最大的有用」，即是「空」、是美術館的白盒子空間，亦是藝術祭的黑盒子宇宙。故曰 : 「至人無己，神人無功，聖人無名。」

"In ancient times there was a huge fish that could turn into a huge bird when it left the water".The value of art to human beings lies in its avant-garde and detachment. People's desire for art exists in the "heterogeneous feeling" that is hard to swallow after appreciating the works. "Daily life" is a cage that brings numbness, rigidity and extreme comfort; so we are almost frantically seeking evidence of the existence of "non-daily life". All kinds of fairy tales tell us one thing: "As long as you have glimpsed the existence of magic, you will burn everything in your life just to find magic again."Therefore, the pursuit of "things that do not exist" has created the materialization of Foucault's "heterotopia"; only in a "non-daily" space can we develop the possibility of "beyond the present". That’s why artists and museums exist. This becomes "ultimate uselessness", without purpose, function, and value; then that uselessness becomes "the greatest usefulness", that is, "Void", the white box space of art museums, and the black box of art festivals. Hence the saying: "A great man has no self, no purpose, no name."