The relationship between state and society in China has long been a controversial basis for the emergence of creative works. Liu Bolin, using photography as a way to open China’s national identity and at the same time for tacit protest against the government. A series of works “in Disguise,” appeared in response to his expulsion and the destruction of his studio in Beijing. As both the protesters and the artist, Bolin completely hides himself, becoming invisible, and thus becomes a symbol of humanity, concealed in the growing isolation of the capital. His works of camouflage are second to none.