In 2000, conceptual artist Zhu Yu became (in)famous for a series of photographs showing him ostensibly cooking and eating a human fetus, titled Dinner–Eating People. This work was part of a larger series, in which Zhu explored the moral and psychological boundaries of using the body in works of art—a line of inquiry in keeping with his overall practice, through which he challenges the language of art, probing its limitations and asking who polices its boundaries. Recently, Zhu has been producing meticulously detailed, photorealistic paintings of pebbles and the stains left by tea at the bottom of porcelain cups. While these works are not sensational like his earlier performances, they are grounded in similar aims. Through them, Zhu transforms the mundane into exquisite objects of aesthetic contemplation, asking, in a different guise, what constitutes a work of art.