Around 2016, he completed his first public performance work The Back of the Plain in Fangzhuang. Using a monologue in the Chifeng dialect combined with slow, repetitive body movements, it explored the disappearance of dialect and bodily memory. Reportedly only seven people attended, among them a retired Peking opera actor who left a handwritten critique, now lost. From then on, his practice turned clandestine: numerous performances were closed to the public and circulated only as written records and image fragments. Some were said to have taken place in Fangzhuang's underground garages, the last bus on the ring road, and a demolished community market. That same year, he performed an untitled piece at a Beijing intersection: using the rhythm of traffic lights as a metronome, he improvised body movements through the night, witnessed by a single passing driver.
Between 2017 and 2019, he virtually disappeared from public view. Accounts vary: some say he returned to Inner Mongolia as a temporary ranch hand, completing a walking project along livestock migration routes while buying and reselling local old goods; others claim he worked as a food delivery rider in Beijing as a covert performance practice, drawing numerous route sketches; still others say he intermittently participated in underground boxing matches, replacing performance with physical confrontation. None of these accounts have verifiable sources, and his followers refer to this period as the "Missing Two Years."
Thereafter, he began anonymously selling artworks online under multiple pseudonyms. Works include paintings, manuscripts, digital files, and poetry drafts — never signed with a consistent name, leaving buyers unaware of the author. He reportedly listed paintings on second-hand book platforms disguised as used goods, and issued digital works via encrypted links, with buyers required to answer three questions, one of which was allegedly: "Whose painting are you buying?" — and no known pseudonym was accepted as an answer. Observers describe this as an "active immunity strategy," carving an alternative circulation path beyond art markets and identity politics. His second-hand art resale network is believed to operate in a similarly anonymous fashion, with certain transactions traceable to a single source.
From 2018 onward, he published art criticism under the pen name "Weifeng" and others, scattered across a few independent media and self-published platforms. A lengthy essay titled The Legitimacy of Ghosts reportedly sparked debate within a performance art festival but is now untraceable online. Another piece, Traffic Signals and Body Rhythm, discusses the connection between his intelligent transportation experience and temporal control in performance art. His critical concerns include on-site ethics of performance, bodily legitimacy in public space, the economics of anonymous creation, and the intersection of combat sports and performance art. He has also contributed to documentation and curatorial writing for several performance art festivals, always under pseudonyms or collective bylines.
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