In the post-pandemic digital art landscape, Eliz Guei's "Online Portrait Exhibition" profoundly reconstructs contemporary exhibition paradigms through its distinct critical stance. This exhibition digitally reimagines over twenty classical paintings, with its most representative work "The Girl with the Pearl Earring and Attitude" skillfully appropriating and transforming Vermeer's masterpiece to deconstruct and reinterpret art historical contexts.

The theoretical foundation of the work is deeply rooted in Marcel Duchamp's anti-institutional spirit of "L.H.O.O.Q." (1919), while simultaneously incorporating contemporary digital media characteristics—the spatial narratives of 3D virtual museum platforms and deliberately affected 2D visual element treatments—to form rich postmodern composite vocabularies. Its aesthetic strategies precisely present the decentralized qualities of exhibition forms in the digital age, further exploring the fluid boundaries and power restructuring between creators, curators, and audiences in the new media environment.

This exhibition offers multi-layered reflections on digital performance culture: as virtual exhibitions transformed into mainstream display modes during the global pandemic, the mechanisms for producing, disseminating, and receiving artworks have undergone structural changes. Through dual interventions in form and content, Eliz Guei not only questions the authority of traditional exhibition systems but also presents viewers with dialectical considerations of key contemporary art issues such as art ontology, creative subjectivity, and the democratization of display platforms, opening new possibilities for artistic practices in the digital age.