「超出建築：田中央與七位藝術家」展覽，以田中央作為詮釋主體，由七位熟悉田中央作品、工作、生活及理念，並長期與其密切合作的藝術家共同進行創作。以不同向度的詮釋演繹，以及跨域的形式媒材，企圖藉由創作的交織對話，解析田中央，同時呈現建築創作對環境、土地、人的關照，以及對生活與生命開敞的共同核心本質。
展示規劃有二個企圖回應的議題，一是和當代藝術館建築做為城市中的歷史建築的豐富涵構及空間秩序的對話。二是回應內容主題，創造多重對話且架構清晰的展示形式。
空間的對話，以許多的「打開」做為手段，在對稱的當代藝術館中軸上打開對校園的門窗、串聯二樓大展間的天井，以及二樓展間面對長安西路的窗，拆除一樓入口展間的遮光展牆，顯露建築本體並讓陽光及風進入。創造明暗、內外交織，從抽象的展示黑盒子到建築、城市，涵構及尺度變幻的展示載體與敘事空間架構。
展示設計，以不在觀展動線卻貫穿一、二樓的中央梯間影像裝置作品「游水」作為進入與離開七個藝術家獨立展間的儀式節點；以二樓大展間空橋創造的俯看與離開；以節制卻語言分明的展示構築形式；以漫佈在展區的江國梁導演碎片化且跨越時空涵構的記錄片，依藝術家作品內容及形式特質形塑的獨立展示空間等等。幾個重要的主要設計動作，形成一個或獨立完整、或碎化、或溢出、或相互滲透，從內聚到開放，具複雜層次且節奏分明，意義多重而開放流動的敘事整體。
《Beyond Architecture: Fieldoffice Architects + 7 Artists》 is an exhibition centered on Fieldoffice Architects. Seven artists who are familiar with the work, practice, lifestyle and philosophy of the office and collaborate closely therewith are engaged in this collective creation. Through multi-dimensional interpretation and portrayal and cross-disciplinary forms and media, they strive to offer an analysis of the office through the interwoven dialogues resulting from the collaboration. In doing so, they also seek to represent concern for the environment, land and people expressed through its architectural practice and common essence of openness to life and living.
The curation attempts to respond to two themes. One, the architecture of MoCA as a dialogue between the rich context and spatial order of a heritage building in the city. Two, create layered dialogues and an explicitly-structured exhibition format as a response to the subject matters of the show.
The spatial dialogues frequently leverage the action of “opening” as the modus operandi. The campus-facing doors and windows along the central axis of the symmetrical MOCA are opened to connect the atrium of the 2F grand showroom, as are the windows facing Chang-an W. Road in the 2F showrooms. Shading display walls inside the showroom at the 1F entry are dismantled to expose the building and introduce sunlight and breeze. Thus, abstract black boxes become display vessels and narrating spatial structures encompassing architecture, city and context at varying scales and interwoven in light and dark, inside and outside.
The video installation Swimming at the central foyer is not situated along the tour route but nevertheless connects the first and second floors as a ritualistic node for the entry and exit of the independent rooms featuring each of the seven artists. Several design maneuvers work together to form intricately layered, lucidly rhythmed and free-flowing narrative entities with overlaid intentions that transition between inward-facing and open, be they independent and whole, fragmented, overflowing or inter-permeating. Such maneuvers include: the overlooking and departing effected by the overpass at the 2F grand showroom; refrained yet articulate linguistics; documentary by director Chiang Kuo-liang which is fragmented, traversing spatiotemporal context and scattered throughout the exhibition; independent showroom spaces shaped according to the content and formal disposition of each artist’s works.