Yao specializes in photography, installation and painting. The themes of his works are varied, but most importantly they all examine the absurdity of the human condition. Representative works include Action Series. We can find the clue he explores the question of Taiwan’s identity in Military take over(1994), subverts modern Chinese political myths in Recovering Mainland China(1997), and examines post-colonialism in The World is for All(1997~2000) as well as Long March-Shifting the Universe(2002). In recent years, he has created photo installations combining the style of “gold and green landscape” with the superstitions that permeate Taiwanese folklore, expressing a false and alienated “cold reality” that is specific to Taiwan. Representative works include the series of Celestial Barbarians(2000), Savage Paradise(2000) and Heaven(2001). Another photo installation series Libido of Death(2002) and Hill(2003) tries to probe into the eternal issue of body and soul. Recently, Yao Jui-Chung has assembled all the black-and-white photos of ruins he took in the past fifteen years, grouped under the themes of industry, religious idols, architecture and military bases. They reveal the enormous ideological black hole in Taiwan hidden behind the trends of globalization and Taiwan’s specific historical background as a continuation of the main theme of his work: the absurdity of the historical destiny of humanity. Since 2007, Yao has started to create a series of works including Wonderful(2007), Dust in the Wind(2008~2010), Dreamy(2008~2010), Romance(2009) and Honeymoon(2010~2011). He appropriates masterpieces from Chinese art history and recreates them in his own way, transforming them into his personal history or real stories in an attempt to turn grand narratives into the trivial affairs of his individual life. Yao intends to usurp so called orthodoxy with his recreated landscapes. In 2010, Yao grouped his students into a team of photography workshop called “Lost Society Document”(LSD). He encouraged them to photograph and survey in their hometowns. Through the way of field survey, they attempt to draw the outline of “mosquito houses” which have been widely criticized, publish three books named “Mirage: Disused Public Property in Taiwan”, and practice the possibility of observing the society by the meaning of art until now.