現成物
形似巴圖形石器的一支刮痧工具。
台灣出土約五十件的史前巴圖形石器。這些石器最初被稱作「パツ（音近巴圖）」，因首次發現（1934 年，日本殖民時期）時，人類學教授移川子之藏認為其形似紐西蘭毛利人的巴圖（一種主要作為武器的棍棒）；隨著研究方法更新，今日學者推測兩者關聯薄弱——因此僅稱之「巴圖形」——但對於其功能仍無定論。刮痧是一種東亞與東南亞盛行的替代療法，它在病人身上留下的痕跡有時會引起跨文化誤解，被視為身體虐待的跡象。
作品疊合不同認知（器物、痕跡）和功能（攻擊、治療、未知），凸顯物體本身的模糊性。其雙重身分（工具／藝術品）暗示「實用的工具（Utility）／純粹審美的藝術（Art）」的分裂既非自古皆然，亦非普世通用：在西方「純藝術（Fine Art）」誕生之前或許多原住民文化中，此劃分並不存在。
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Ready-made
A gua sha tool resembling patu-shaped artifact.
Around fifty prehistoric patu-shaped artifacts have been unearthed in Taiwan. They were initially called “パツ(patu)” because, when first discovered in 1934 during the Japanese colonial period, anthropology professor Utsushikawa Nenozō thought they resembled the Māori patu (a type of club mainly used as weapon). Through modern research, scholars now believe the link is weak, so they call them “patu-shaped,” though the exact purpose of these artifacts is still unknown. Gua sha is an alternative therapy in East and Southeast Asia, and the marks it leaves on patients can sometimes lead to cross-cultural misunderstandings, being mistaken for signs of physical abuse.
The work superimposes different perceptions (artifact, mark) and functions (attack, healing, the unknown), emphasizing the inherent ambiguity of the object. Its dual identity (tool/artwork) implies that the division between utility and art is neither timeless nor universal: it did not exist before the birth of “fine art” in the West, nor does it exist in many indigenous cultures.