This water-color sketch is a proposal provided for the Beaufort Triennale in Oostende, Belgium. Fort Napoleon was constructed in 1811. It is now a museum. At the time I suggested to erect a small-scale model of the Pentagon in the inner courtyard of the fortress. The point of departure for this proposal was the pentagonal shape of the building: from a ruined fortress in an old imperialist country, to the Pentagon in a new – isomorphic but transformed – imperialist country. Ultimately, the proposal was not realized.

（Statements by the Artist, 2011)

Huang Yong Ping’s style is unique. He has his own expressive technique: first is his frequent use of ‘transportation’ – he takes objects of some other time and some other place and transports them to this time and this place, as well as modifying them, grafting them and re-writing them.

After being simulated, scaled down, assembled and grafted, these spaces and objects re-acquire a meaning of their own in their new time and space and in their new ‘scene’.

Huang Yong Ping’s works generally take various meanings and place them in a space where they compete with one another. This leads to his works generally not staying securely bound by a single meaning. The complexity and confrontation of meanings results in the disintegration of any definite, seemingly unquestionable natural reality – whether political, economic or cultural. Huang Yong Ping uses his unique format to constantly preserve his artistic criticism, which is exactly where his meaning resides.

(Wang Min’an, The ‘Meaning’ of Huang Yong Ping, 2008[Excerpt])