鄭建昌回顧展系列的第三部篇章，將視線聚焦於他2007-2025年間的重要創作—「大塊系列」。一種回到根本的凝視，讓情緒、土地與精神性在畫面上緩慢沉積，把內在能量放大到肉眼無法忽視的比例—像是一種存在的吶喊，也是生命本質的放大與揭露。

此次帝門藝術中心展出「圖書館」及「文學零點」吳瑪悧的兩件作品，雖於不同時期的創作，卻也都與紙－書寫－文化－歷史－權威等議題的面向相關，也反映了吳瑪悧對於結構、解構的興趣。

Punto—an Italian word meaning "point"—symbolizes both the beginning and the end. It represents seriousness, simplicity, affirmation, permanence, and constructiveness, serving as a foundation. After World War II, European Art Informel and American Action Painting flourished, but by the 1960s, they had lost their originality and vitality. These two major movements emphasized the act of creation and the expression of emotion within artworks.。

鄭建昌回顧展II，主要聚焦於1996-2003年的作品，他的畫面帶著泥土的溫度與人文的厚度，不僅記錄時代變遷，也映照社會環境的情感紋理，深刻回應台灣這片土地的文化記憶。

帝門藝術中心甫推出《黃志超2025紀念展》，向可樂居士致敬。本展聚焦於1980至2005年的作品典藏，梳理黃志超一生的創作思維與脈絡。此次展覽，展出睽違許久的『沐浴紐約』、『香閨美女』、『馬』、『書寫』等系列作品。

Hsiao Chin, courtesy name Youlan, was born in Shanghai and moved to Taiwan with his family in 1949. He studied painting under Li Zhongsheng and became a key member of the Ton-Fan Art Group. In 1955, he traveled to Spain for further studies but later abandoned his degree to pursue artistic development in the more vibrant art scene of Barcelona. Over the years, his artistic achievements in Italy gained widespread recognition, and his works attracted attention at numerous international exhibitions.

帝門藝術中心隆重推出藝術家鄭建昌的回顧展，集結其數十年創作歷程中的代表作品，全面梳理他從早期形式探索、抽象語彙的實驗，到近年深耕土地記憶的創作脈絡。本次展覽不僅回顧鄭建昌的藝術軌跡，更希望引導觀眾重新檢視其作品中所蘊含的文化脈絡與時代意義，透過藝術觀看土地與社會的深層對話。

願境像是塗成白色的牆壁、像一張白色的地毯，像一個白色的桌子，也像一個塗成白色的石頭門擋，像一個置放在牆上裝入土沙的玻璃杯。願境可能只是其中之一，可能是全部，也有可能遠遠超過所有。藝術創作最核心的意義，不是形式的多寡，而是存不存在於生命；而生命最核心的意義也不是形式的多寡有無，而是存不存在於信仰。

CHUANG, Tsung-Hsun, born in 1976 in Chiayi, presents his works from 2021 to 2024 in this exhibition, centered around the concept of "modularized" playground structures. These artificial installations replace natural landscapes, forming a "new scenery" that reveals a vastly different way of life.