Venue | Gallery 103/104 Skinner Box, the namesake of this exhibition, is an instrument designed by psychologist B. F. Skinner to study animal behavior conditioning. He argues the free will of human beings is actually an illusion and human behaviors are the outcomes of prior reinforced learning. The maneuvering of behavior through "penalty and reward" can be seen as the epitome of how a Capitalist society operates, while simultaneously reflecting the feedback mechanism of the museum with its dual roles of exhibition and collection. The analogy here between the Skinner box and the museum is obviously just an artist's argumentative instrument, as an artist is quite disparate from a lab rat locked up in a cage. Likewise, the complexity of artistic behavior and the creative mind does not warrant the narrow-scoped comparison to operant conditioning. Nevertheless, the authoritative and dictating role a museum plays in the system of art consumption fully justifies the ambivalence of an artist, who must at once challenge its authority while cooperating to face the consumers. Has the museum simply become a crafty design for the consumption of art? As artists flock to fill the museum space under the appeal/pretense of innovation, are they driven by their inherent creative motivation, or merely satiating the museum's appetite for novelties? When the conspiracy between the artistic institution and the system of art consumption trumps the human creative drive, has artistic behavior been relegated to a hollow simulation/replication of contemporary genres? When the artist adopts the museum's "white cube" as both his creative form and content, limitation and inspiration, has the institution of museum turned into a giant Skinner box that conditions creative behaviors? Skinner Box is an on-site project created right inside the museum space. "Creation" referred herein is no more than an installation process that has no start and no end--objects of art are continuously reassembled, expanded and updated throughout the period of exhibition. The "artwork" is only substantiated by the gaze of the audience. "Objects" have been chosen to fill the museum because they are the external projection and reflection of human desires. We produce objects and we are shaped by them. Overconsumption is the pinnacle of human transference via objects--a phenomenon that is also rampant in today's art world. Embroiled in the mass production of art, artists are simply searching for identifiable art forms that may be consumed, rather than realizing the value of art--a game of trial and error in the Skinner box that is the museum.