This time, Li Tao no longer fine-tunes the relationships between materials bit by bit. He confidently dishes out a model space; the industrial products remain as they are, though they have taken on a new form, with silver-gray geometric shapes serving as the basic components. This is unlike Li Tao’s previous works, yet not entirely different. In the past, he often manipulates the vast interiors of buildings as if they were paintings; this time, opening up spaces within the canvas is simply going down the same path in reverse: if things didn’t go smoothly, he’d stumble from the diaphragm to the pharynx; if they did, he’d follow the bathroom drain to Holloway’s Emirates Stadium, and finally enter the Scrovegni Chapel. Li Tao, the observer in the two-dimensional vector animation, does not say “Go to sleep, Makka Pakka,” because he finds that not only can he not control the lives of the garden babies, he is even somewhat at a loss regarding his own life.