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This chapter discusses how the author and Lan Jun was reunited in Australia. To help Lan Jun legally settle in Australia the author wrote to the Minister for Immigration and to the Prime Minister and arranged an exhibition for Lan Jun. This chapter explains how the author learned anpit and witnessed racial discrimination and how Lan Jun attempted to enter Australia illegally.

This chapter discusses the events following the author's shooting performance at the China Avant-garde Art Exhibition in Beijing, China, in February 1989. She returned to the museum at about four in the afternoon to surrender and she was arrested by the police. On the way to her detention cell after her interrogation she met Lan Jun again. He smiled at her and it melted her uptight state of mind and a kind of romantic feeling was involuntarily born in her heart. When she was released Lan Jun was there again. He accompanied her to the reopened museum, introduced her to the curator Gao Tianyu and also went with her to Hangzhou when she went home to her parents.

This chapter discusses the author's return to her family in Hangzhou with Lan Jun after the shooting incident. It cites the comments of her mother and the people from her old school, the Zhejiang Fine Arts Academy, about her action at the exhibition and her decision to go with Lan Jun. It questions articles in newspapers which credited Lan Jun's involvement in the shooting performance. It also highlights the author's sending of a letter to Wei Bo about the incident and her decision to go to Australia.

This chapter discusses the experiences of the author and Lan Jun in facing the realities of life in Australia. Though they were receiving unemployment benefits from the Australian government, they immediately went to work creating art and holding exhibitions. This chapter explains that during this period, her collaboration with Lan Jun had somehow led her to hate art and she felt that they only continued to be together because of their mutual dependency.

This chapter discusses the author and Lan Jun's return to China in November 1997 after eight years in Australia. It discusses the author's observations about the changes and development in China. It explains that during this time the author and Lan Jun started to have discussions, particularly about other people's comments on Lan Jun's illegal crossing to be with the author and his refusal to have a baby. One of the major discussions was about Lan Jun's plan to present a Sterilization Project to the author, which would require both of them to undergo sterilization surgery.

This chapter discusses the author's travel to the U.S. after she was persuaded by her college friend Meng Meng to go there. It relates the author's realization of the need for her to do what she had to do without obeying orders or request from Lan Jun. It also describes how the author took a white fiberglass cast of Lan Jun on a performance work in New York. She believed that it was their one and only work of collaboration in the true sense of the word.

This chapter discusses the breakup of the author and Lan Jun. It explains that Lan Jun told the author that he wanted to find himself again and concentrate on his art. Lan Jun explained that he did not need the author anymore and that he was suffering from humiliation below the hips. The following day the author's friend accidentally discovered that Lan Jun had already been going out with another woman for more than six months.

This chapter discusses the events related to the author's firing of a gun at the opening day of the China Avant-garde Art Exhibition in Beijing, China in February 1989. The opening ceremonies started at about nine and Zhao Xiaoshu arrived with the gun she borrowed after ten thirty. After Zhao Xiaoshu gave her the gun she then asked her old classmate Ju Qing to film her performance. On her way to her installation she accidentally met Lan Jun again and was advised to avoid hitting the floor because the bullet might ricochet and hit someone. At around 11:10 a.m. she fired two shots and left and exhibition area with Lan Jun. This chapter provides actual photographs of the shooting.

This chapter discusses the author's participation in the China Avant-garde Art Exhibition in Beijing, China. It explains that her participation at the exhibit was a pure coincidence because she did not receive any application form and she just received a letter saying that the installation Dialogue has been accepted for exhibition. It also relates her decision to fire a gun during the exhibit, her borrowing of the gun from Zhao Xiaoshu, and the assistance provided by Lan Jun in setting up her installation.

This chapter discusses the author's arrival in Sydney, Australia. It describes her observations about the differences between China and Australia in terms of population and urban development. After more one than week in Australia she received a call from Lan Jun who told her that he was already in Hong Kong and that he chose Australia as his third-country settlement because he loved her. When she told her that she was pregnant Lan Jun asked her to get rid of it and she agreed.

This chapter discusses the author's rework of her 1989 installation art work called Dialogue. During this time the author learned from Lan Jun's uncle the true reason why he had told her that he did not need her anymore and she admitted her mistake of laying the foundation for his opportunism. With the help of Zhao Xiaoshu and Ju Qing, the author completed the reproduction of Dialogue in January 2004. She also had the opportunity to meet Gao Tianyu and explain to him the motivation for the 1989 shooting performance.