黃孫權（時任高雄師範大學跨領域藝術研究所專任助理教授）為高雄市立勞工博物館策劃之首度大型移工主體特展。展覽分 A–G 七區，從世界移民潮、流移夢想、NGO 串連、驛鄉日常、移工群像、家的距離，到陳界仁《路徑圖》（2006）連結本地碼頭工人與全球工人運動。
策展團隊放棄以「外勞」議題正當性挽救藝術正當性的常見路線，先把創作慾望擱置，靠長期田野訪查、資料分析與藝術轉化，跨過「看 (seer)／被看 (seen)」的兩難。借高達美「視域融合」(fusion of horizons) 概念，把成見坦白攤出來，讓在地觀眾與移工的視野互相穿過。
展覽形式打破勞博館以往的實物具象路線，把博物館的告知教育功能與當代藝術的抽象轉化結合：一面用資料、圖表論述全球流動下的台灣勞動市場；一面用田野採訪、移工自拍、移工陶土工作坊（《我的夢想》）、雙手手印牆、移工夢想距離測量裝置（《家的距離》），鋪出再生產日常的厚度。
Curated by Huang Sun-Quan (then Assistant Professor at the Graduate Institute of Interdisciplinary Arts, National Kaohsiung Normal University), this was the Kaohsiung Museum of Labor's first major exhibition centered on migrant workers as primary subjects. Across seven sections (A–G) the show traced global migration waves, mobile dreams, NGO networks, everyday domestic life, migrant portraits, the distance to home, and Chen Chieh-jen's The Route (2006), which linked Kaohsiung longshoremen to global worker movements.
The curatorial team set aside artistic desire and form, working through months of fieldwork, data analysis, and slow art-translation to step past the seer / seen dilemma. Drawing on Hans-Georg Gadamer's notion of a fusion of horizons, the show admitted its own prejudice and asked Taiwanese visitors and migrant workers to let their visions cross.
The exhibition broke with the museum's prior object-display tradition, combining museological pedagogy with contemporary-art abstraction. On one side: data and infographics on Taiwan's labor market within global flow. On the other: field interviews, migrant-shot photographs, ceramic workshops (My Dreams), a wall of hand-prints, and a string-installation measuring the distance from each migrant's bed to home (Tracking Flows).
為 2006 年利物浦雙年展所作，取材自 1995–1998 利物浦碼頭工人罷工、Neptune Jade 全球工人聲援事件。藝術家邀請高雄碼頭工會成員在勞工博物館倉庫空間（即本展現場）演出一場虛擬罷工。鏡頭刻意切除海與港口，把視線收束於工人身體與表情，呼應全球碼頭被私有化吞噬的政治現實。本展以此件作為 G 區結尾，把高雄本地碼頭工人接上全球工人運動。
Made for the 2006 Liverpool Biennial in response to the historic Neptune Jade incident and the global worker movement, the work invited members of the Longshoremen's Union of the Port of Kaohsiung to stage a simulated strike inside the very warehouse space that became this exhibition's venue. Chen deliberately crops out the ocean and harbor, focusing on the longshoremen's bodies and expressions, suggesting that as the world's ports are gradually swallowed up by privatization, these spaces wait to be reopened to view. Section G's closing work, linking local Kaohsiung longshoremen to the global movement of port labor.
Henry Doctolero 是菲律賓出生的攝影家，duke 是他的名字。為了攢得他的單眼相機，他簽了 8000 元台幣的合約做了一份工作，再省下幾年的台幣，最終把這台相機帶回台灣。本片紀錄他的攝影。
Henry Doctolero is a Philippine-born photographer; "Duke" is his given name. To get his SLR camera, he signed a NT$8,000 work contract, saved up for years on Taiwanese wages, and eventually carried the camera back to Taiwan. This documentary records his photography practice.
她（賴）上網尋著菲籍仲介的介紹，在一條文字小徑就找到答覆。付了 8000 塊的台幣，便取得歡愉。後來自己反覆訓練，才不至於遺忘到台灣，付 90000 塊的台幣。
Through Filipina-broker websites, the protagonist finds her way through a narrow text path. NT$8,000 buys joy; with her own repeated training she avoids forgetting Taiwan, paying NT$90,000 along the way.
他是菲律賓藍領移工，來台已經超過 10 年。20 多年來，他換過很多工作，當過兵，來自馬尼拉，最後在台灣工作。
A Philippine blue-collar migrant worker, in Taiwan for more than ten years. Over the past two decades he has changed jobs many times, served in the military, and traveled from Manila to settle into work in Taiwan.
「那時候，從越南到台灣，你準備了什麼？」「我帶了越南的鞋子，有時候踩到，會憶起來，在台灣的我，想念越南的我。」一群越南籍的女性外勞，從台灣回越南個別，在這片裡面她們各自想自己的夢想，跟夢想到台灣前夕的種種。
"What did you bring with you from Vietnam to Taiwan?" "I brought Vietnamese shoes; sometimes when I step in them, I remember—me-in-Taiwan thinks of me-in-Vietnam." A group of Vietnamese women migrant workers, going back home from Taiwan, talk through their dreams and the moments before they crossed.
一群越南籍的內六工人，再次回到台灣個個工作的他們，在這個酷熱的島嶼與我們相遇。透過攝影機的聲音之外與閒言閒語，與生活相關的點點滴滴，描繪出心情地發生的意念與懸念。
A group of Vietnamese workers returning to Taiwan are met on this hot island. Through audio outside the frame and stray small talk, fragments of daily life sketch the moods and suspended thoughts that arise.
在台灣的工地上，菲律賓人喜愛打籃球。泰國人和越南人喜歡足球比賽和摔角。本片將介紹這群在英語不通的工地裡的工人，每周末他們之中的某天，只為了大家所愛的這份「足球」，以及與旁邊朋友的競爭跟爭執。
On Taiwan's construction sites, the Filipino workers play basketball; Thai and Vietnamese workers prefer football matches and wrestling. The film introduces these workers in a worksite where English doesn't bridge them, and follows their weekend games of football and the small competitions and arguments alongside.
菲律賓藍領移工 Henry Doctolero 自己的攝影創作首次公開展出。本展沒有把移工視為被代言的對象，而是邀請他們以攝影師的身份說話。
First public exhibition of Henry Doctolero, a Philippine blue-collar migrant worker, as photographer in his own right. The exhibition declines to speak for migrants and instead asks them to speak as authors of images.
F3 區作品。把外籍勞工從仲介、體檢、契約、宿舍、工作、休假、回國的整個流程，用一個流程圖畫出來，呈現「成功」與「失敗」兩條迴圈。
Section F3. A flow diagram of the migrant-worker pipeline—broker, medical check, contract, dormitory, work, leave, return—with two parallel loops of "success" and "failure".
陳界仁 Chen Chieh-jen · 吳文睿 Wu Wen-jui · 賴冠丞 Lai Kuan-cheng · 李少文 Li Shao-wen · 鄭國豪 Cheng Kuo-hao · 鄭宇捷 Cheng Yu-chieh · 林郁盛 Lin Yu-sheng · 林聖翰 Lin Sheng-han · Henry Rabara Doctolero（菲律賓 / Philippines） · 黃郁齡 Huang Yu-ling