Wang Yanxin is an artist who is extremely sensitive to behavioral language and pays attention to the relationship between the thinking and action of the presence and the environment, field and history. What is important is that Wang Yanxin has his own way and method in this process, and his behavior often hides interaction and integration in an inappropriate place of confrontation and separation. Just like the wolf and explosive power are the impressions of most people on Yan Xin's works, but the warm and poetic tranquility after the wild moment is even more moving.

Performance art is not merely an act through which the artist completes an inner experience or expresses a conceptual idea; it can also be a way of responding to specific realities or historical spaces, thereby revealing new dimensions of spatial experience. In Wang Yanxin’s practice, this form of spatial response through performance art had already emerged in his earlier works. For instance, When We Meet Again(2018), created in the nuclear exclusion zone of Fukushima, and Centenary (2021) and 1001 Lights(2021), performed in an abandoned tunnel of the Yunnan–Vietnam Railway, both exemplify this approach. In the past, such works often arose from participation in particular projects, which led him to enter these charged spaces. Wang has always been acutely sensitive to the histories and atmospheres embedded in such environments, intervening in them in his own distinctive ways—at times poetic, humorous, solemn, or absurd. As he became increasingly familiar with this mode of spatial engagement, Wang began to ask himself a fundamental question: What does space mean to me? What kind of space should I be thinking about?