The work in Pathology was concerned with domestic technologies as well as urban planning, and how the two relate to a desire for health, pleasure and the prolongation of life. The exhibition consisted of various works that were connected by their minimal aesthetic, architectural references, and everyday use-value. The centrepiece consisted of a cluster of more than sixty clean-mist humidifiers and negative-air ionizers. Theoretically, these machines created a “charged” atmosphere that improved the way we feel. Their clean, almost abstract, design was suggestively architectural, and Liu’s arrangement of these machines mimicked an architecture model of urban design. Humidifiers and ionizers are promoted as preventing everything from parched sinuses to furniture damage, and as most users lack an understanding of the technological principles, these “machines for improved living” have a psychological function as much as they have a physical one. Also in the exhibition were loosely-hung samples of wallpaper which Liu had imprinted with Rorschach-like patterns derived from an overhead view of Levittown, an early post-war example of ideal suburban planning. Pathology was An Te Liu’s first solo exhibition.