Out of the more than fifty videotapes handed over to Yang Teng-Chi, his father wrote the words “Home Pleasure” as a note on the side of many of the videotapes. The artist regards the tapes in a way that is both detached and intervening, deconstructing the tumultuous times teeming with undercurrents in which his father had lived. Furthermore, he rethinks his father’s reference to “home” / “pleasure”, contrasting it to “home” / “sex”, and the juxtaposition of the two, which also corresponds to the contemporary, dramatized“privacy” as defined by the media. Through the various clues that emerge from “decoding” his father’s videos, several intimate, contemporary dialogues about sexuality and identity are once again opened up and documented, and connect to the public through the screening. These clues also lead the artist back to his own family to interview his mother. His mother was unconcerned with what might have been seen as deviant behavior in which his father engaged in the past. The framework of the family, the framework of sex, the framework of “if not ____ then ____” is dismantled again by his mother’s unperturbed attitude of talking about the past.