In recent years (2011-2021), paper-based “Xiao Zhi” and “Artists' Books” have both appeared in the cultural fields, such as exhibitions and art book fairs, as well as related platforms for exchange. In addition, the open narratives between the two cultural fields have also increased.
 

According to current research in Taiwan, the term “Xiao Zhi” results from a naming paradigm shift around 2013 and is related to the recent developmental context of independent publications and zine in Taiwan. Inside the field, “Xiao Zhi” is promoted by not defining or categorizing the term. Throughout the past decade, the research and promotion of “artists’ book” have mainly focused on individual creative cases, while there are traces that the term is being discussed in a more systemized manner. However, due to insuffcient open critique in the past and burgeoning open narratives in recent years, discrepancies have appeared between the two cultural fields when mentioned by communities, activists, as well as when facing the creative act and definitions, which leads to parts of media and promotors emphasizing distinction in public discourses; this is different from the former approach where the two are not categorized within the field and has resulted in narrative disarray.
 

This paper adopts the concept of Cultural Field and explores the public discourses regarding “Xiao Zhi” and “artists’ books” during the past ten years to investigate the changes in the field, clarify the common concepts that appear in public narratives, and propose the value of public discourse in contemporary art. The discourse is structured with the hopes that current research and discussions on “Xiao Zhi” and “artists’ books” in Taiwan will be included in the evaluation and observation of “publishing as artistic practice” in contemporary art and enrich future practices and discussions.