人們都知道羅素（Bertrand Russel）《心的分析》一書中提出的悖論：世界可能在幾分鐘之前被創造，但卻擁有記得虛幻往事的人類。
　　關于這一點，大家可以重溫19世紀英國自然主義者在其書《翁法洛》（英文Omphalos,意為“圓錐形神石”。此石位于古希臘特爾斐城阿波羅神殿中，古希臘人此石標志世界的中心。）中的假說，按照其假說，各種類包括人類起源和進化的所有地質和化石痕跡都可能是五千年前上帝按照《圣經》創造世界的一種當代的模擬。
　　所有似乎追溯到彼世直至時間隧道深處的東西都可能是上帝為賜予我們這個世界一個開端和一個歷史而寬厚地想象出的一場演出，此演出是為了讓我們產生時間消逝的幻覺。為了減弱與出自于一種高級愿望的現在這樣的世界進行的令人難以容忍的對比，上帝贈給人類一個過去。我們甚至不再想象野蠻的創造行動，但上帝或許考慮過，作為補償，它賜予人類一個模擬的歷史以使人覺得自己的生存變得可以接受。
　　但是假如，我們說假如。
　　假如沒有表面現象，萬物就會是一樁完美的“罪行”，既無罪犯、無受害者，也無動機的“罪行”。其實情會永遠的隱退，且由于了無痕跡，其秘密也永遠不會被發現。
　　然而，恰恰此“罪行”從來不是完美的。因為萬物由其表象漏出馬腳，這些表象是其不存在的痕跡，也是虛無延續的痕跡。因為虛無本身、虛無的延續都留下痕跡。因此，萬物暴露了自己的秘密，盡管它躲在表象之后，還是讓人看出其真實面目。
　　藝術家也同樣，總是距這種無意義的完美的“罪行”很近。但是他在擺脫此“罪”，而且他的作品就是此“罪”破綻的痕跡。藝術家是竭盡全力抑制這種不留痕跡的根本沖動的人，恰如《Mr.Jiao 的“藝術博覽會”》來自于一次貌似偶得的1533平米“剩余”空間，藝術家便迫不及待的試圖去營造一個“犯罪”現場。一個企圖讓符號與現實的關系更加疏遠，一個以模擬取代真實，一個使人與世界的關系變得更加值得懷疑的“犯罪”現場，一個存留痕跡的現場。
　　幸好，我們是以一種必須的幻覺方式、一種不在場的方式、一種非現實的和一種與事物非直接的方式存在。
　　幸好，沒有什么是瞬間的、同時的或當代的。
　　幸好，實在沒有發生。
　　幸好，“罪行”從來不是完美的……

　　焦振予
　　貳零一四年十月于上海

　　No Entrance: Mr. Jiao’s Art Fair
　　One of the famous paradoxical predictions said by Bertrand Russell goes like this: the world can be created just a few minutes ago, yet humans who embody the illusory past have already existed. The hypothesis of Omphalos by the 19th century English naturalists assumed that all traces left in the process of species evolution, from fossils to geological structure on earth, are in fact a modern remodeling by God in accordance to The Holy Book.
　　So at the end of the day, God blessed us with a story about the beginning of the world and a stage for us to play the present. The stage performance creates illusions about time. God has mercy on us so the past He offered to us is not so entirely brutal and unbearable as it really was. As if God must have thought about it, as a compensation to our merciless creation, God offered us a history that was remodeled in the way that more or less is acceptable in our mindset.
　　As if, only as if
　　If all things were presented as how they really are without external surfaces, all things would construct the perfect crime: no suspected ones, no victim and no motivation. Truth will be forever hidden and secret will be forever secret as nothing will be revealed and no traces can be chased.
　　But there is nothing called perfect crime, because sooner or later all that have happened will leave traces in one way or the other, traces of non-existence yet they are extension of windy nothingness. Secret will be revealed, underneath surface, truth will emerge.
　　Artists are those who deliberately urge their instincts not to leave any traces and who are closest to create such perfect crime. The traces he left are in fact the art work itself. Mr. Jiao’s Art Fair comes from a 1533 square meters’ left-over space where a crime scene is constructed. It is a simulacrum of the reality where the signified is far away from the real thing. There are traces in this crime scene that made us wonder what indeed is our connection with this world.
　　As if our approach is merely an illusion, a presentation of the absence, a dislocated existence of non-existence.
　　Momentary and concurrence are non-existing.
　　Luckily it never has happened
　　Luckily the crimes are never perfect…