His work was seen as representative of Taiwan's post-martial-law "New Symbolism" movement. "He painted a map that compresses all of Taiwan's experience into an all-revealing plan, cross-section or surface, and takes the position that 'this is Taiwan' in order to express the territory created and staked out by his art," says art critic Lu Kuang.
他的作品被視為解嚴後台灣美術「新圖示主義」的代表，也就是「用一種『畫地圖』的方式，把台灣存在的經驗實體壓扁凝縮成一塊鳥瞰無遺的平面、切面或表面，以一種『這就是台灣』的指稱姿態，來宣示其藝術版圖的佔領與完成。」