invisible to the passer-by eyes, in 2008 their presence was so ubiquitous to make Zhang Dali ponder on their meaning and on the subtle message implanted in people's head. " In 2000 I started the series AK-47. At the time I thought I was expressing the violence to which people are subjected to in society because of inequality. The Slogan series is a continuation of AK-47, and it is also the result of my observation of our own surrounding society. Our era is full of dramatic events and fast changes, in the main avenues and narrow alleys slogans are pervasive and ever changing. These slogans are standard sentences taken from government documents that have come to dominate our public space. Their aim is to educate us, tell us how we must behave just like a parent talking to an elementary school child – in the same way the parents of the People lecture their immature children. " Zhang Dali, Slogan Artist’s Statement, 2008 Chinese Offspring Zhang Dali's research on human bodies as a collective depository of an era continues in this series of sculptures, cast in fiberglass from migrant workers. From 2004 to 2010, he has reproduced the bodies of farmers coming into the city in search of work; they became the document of both a specific period in the history of urbanization and a migration of unimaginable proportion. From the first exhibitions, the sculptures were hung upside down, to express the absence of control these people have on their lives. The name Chinese Offspring demands us to reflect on the present condition of a People who had lost the values of the wise men and heroes of the past, a People reduced to a sub-human state, cogs in a machine on which they have no control on, lacking ideals and without a purpose that goes beyond daily subsistence. A Second History A Second History was created in a seven-year span, from 2004 to 2011. Zhang Dali poses questions about the influence of new technologies on the visual mass culture and as a form of exercised power. The research on the history of image manipulation takes him to collecting thousands of illustrated volumes, magazines, and newspapers from the years 1950s to 1980s. He had access to the archives of some of the most known state publication houses, where he compared negative films and images published in those years. This work