《接近》由賴志盛針對空間定位及特性限地製作：從藝想空間往下眺望，大廳好像一個池子，池裡透著光與風，池子的邊緣即是迴廊的女兒牆。他提出「接近光與風一些」的概念。《接近》將空間特性與觀眾的視野納為一個整體。在這裏頭，賴志盛的工作像是為觀眾創造一個踮腳或跨越的動作，在特殊的位置上觀看與觸摸，進而對這原本的空間產生新感覺，這個空間是北美館的實體，是虛空的大廳，也是光與風的來源。

 

　　The latest project Closer is Lai Chih-Sheng’s site-specific installation highlighting Space C’s spatial characteristics and positioning. Looking down from the site, the Museum’s grand lobby is a pond permeated by light and wind, with the parapet of the corridor being its edge. In Closer, Lai proposes the idea of being “closer to light and wind.” Closer unites spatial characteristics and audience’s view as a whole. In the work Lai sets out to invite an action on the part of his audience, a tip-toeing or stepping over, so that they can look out or touch something from a unique spot, thereby awakening a fresh new feeling towards the otherwise familiar space. Part of the Museum architecture, the space is the grand lobby of nothingness, but also the source of light and wind.