Chun-Ming Hou, who once was chosen to represent Taiwan in La Biennale di Venezia (the Venice Biennale), and whose prints sell at record high prices, may be described as one of the highest achievers in the history of Taiwanese art. Yet Hou has received relatively little critical attention to date. Some art critics have focused more on Hou's earlier works, pointing out how his grotesque drawings and sexual themes in Erotic Paradise and Anecdotes about Spirits and Immortals defy social taboos and resonate with the social atmosphere in pre/post-martial law Taiwan. Others believe that Hou's recent printmaking works, which reflect more of his personal experiences along with his inner thoughts, are more refined and sophisticated than ever before. In any case, the critics are more concerned with the themes of Hou's work and base their interpretation on these criteria, neglecting other aspects such as the representation of the work, the arrangement or collision between texts and images, the structure of the series, and his auteur style. The critics thus reduce Hou to a “heretic” or “Buddhist practitioner” instead of exploring his strategy of representation (an example of this may be seen in Anecdotes about Spirits and Immortals in which he imitates Chinese script in a parody called “Liu Jiao Hou Shih” or “Mr. Hou with Six Feet”), the meanings behind his grotesque aesthetics, and how his work provides reflects or critically reviews individual consciousness in our modern state. In this article, therefore, I will focus on the representational strategies and styles of Hou's prints to explore issues pertaining to individual consciousness and self-reflexivity so as to offer a fuller art critical understanding of his art.