The title and every level of heading set Chinese and English type side by side on a shared alignment, their weights and heights interlocking so that two language systems coexist and contend within one space. This answers the cross-contextual, cross-regional way contemporary art is produced: artists’ ideas move constantly between local experience and global discourse, and the physical overlap of Chinese and English type is a visual translation of that double identity, not a simple parallel translation.

On the cover, 重构 and Reconstructing differ greatly in size yet share a baseline, creating the tension of something not quite aligned and suggesting that reconstruction is itself an ongoing, unfinished act.

The fore-edge is cut into three stepped tabs, one for each section of the exhibition. Without opening the contents page, the reader can feel the book’s three-part structure through the stepped layers under the fingers, like entering three separate yet continuous rooms in the gallery. The design turns the exhibition’s spatial narrative into the physical touch of the book: the act of leafing through takes on the role of the route through an exhibition, and the book becomes not merely a flat record of the show but a portable exhibition that can be experienced again and again.