台灣當代藝術養成的全球化環境，是九○年代末以國際接軌為名匯聚不同機構資源、人力和想法所打造的。如果我們聚焦到當時年輕藝術家真正關心的問題上，即「進入全球化」，我們可能不會只想到無厘頭是一種頓挫之術這種「國內政治」的精神分析版本，而還有一種跟後續發展更具連結性的「攻克全球化」的精神分析版本。這種與國際生態關係密切相連的內在連結，不是任何超越或進口的內在性，而是與自身生命不可切分的生態連結，這連結就存在於文化與經濟殖民的生命政治治理中。

NG（No Good）在這些藝術表現中不是形式或觀念的指稱，而是癥候，這種癥候的特殊性在於以「範本」作為潛在對話對象，所謂的「範本」則幾乎涵蓋當代藝術與人文科學的討論課題。NG是一種「對話」的姿態、必要性、技術和策略，NG對於臺灣的意義或說表達出的發聲位置，是一種特殊化、臨時性、游擊式（逃逸式）的「ethos」。NG的主動性來自於對典範同時產生的崇尚與不滿兩種相互矛盾的情感，因此其機制是因壓抑而產生的動力，因此，這動力的本質就是渴望「對話」的。

這種NG詩性的創作在這十多年來的發展中不乏案例，但我們今天面對的卻是精神分析與經濟之間的關係，簡言之，經濟自身成為一種慾望機器與國家機器，不斷地生產出引發各種精神機轉的失衡關係，而這些經濟的失衡關係會導致權力上的失衡，終而形成新的支配甚至殖民關係。討論NG不可諱言是一種精神分析的劇本，反過來說，NG也是一種內在分裂糾結的文化節點，是一種反抗的印記。「ROMANCE of NG」正是以上述思考，企圖對台灣當代藝術進行整理的展覽。

Taiwan’s contemporary art scene became globalized in the late 1990s as a result of the influx of institutional resources, human resources, and ideas influenced by the expanding local economy. Examining the artistic and creative realm during that era, young artists back then were energized by the new subject of globalization.

The artistic expression of “NG (No Good)” is a syndrome, rather than a conceptual or ideological reference, that engages in conversation with subjects of contemporary art and social science. NG embodies the attitude, necessity, technicality, and strategy of being in dialogue. Particularly in Taiwan, NG becomes a stylized, temporary, and confrontational ethos. This notion is initiated by a conflicting sentimental struggle between admiration and rejection of an aesthetic model. Subsequently, this innate desire to converse and interact is further driven by the mechanics of a repressed cultural history.

The poetic creation process inspired by NG has been omnipresent in the last ten years. Nonetheless, we face an imbalanced dynamic between psychoanalysis and economy. The latter becomes a machine for demand that continuously generates rhetoric, which then questions the authority of power. Ultimately, the inequality shapes a new dominance and even colonialism at times. The discussion of NG turns into a psychoanalytical script- while acting as a cultural interpretation of internal conflicts; it is also an imprint of rejection. Romance of NG proposes an overarching verdict in retrospective of Taiwan’s contemporary art scene in the past decade.