Artiste born in Taiwan in 1954 of Chinese parents from Continent, Mei Dean-E himself defines himself as a ‘political artist’. Through his work inspired by both the Dada and the Pop Art, which he studied closely during his studies in New York, he constantly questioned the various forms of power, of which he deconstructs emblems and speeches. This article explores how, using multiple visual strategies, it explores the arcanes of political and economic power, and how he opposes a counterpower by image, to which, in line with conceptual art, it often combines language, in a reflection that touches upon identity, nostalgia, identity hybridity, but where politics is one of the themes that largely dominates, ever again, whether about Taiwan or the Communist China that his parents have fled. Mei is often unexpected, always grating, and is still an unexposed artist in China. If he is not the victim of direct censorship, he is not particularly interested in exposing him, conscious of the impossibility of presenting his work, a criticism of both nationalists and Chinese Communists, and Mao Zedong in particular. In the unique context of China-Taiwan relations, and in a country where the nation and its borders are all but easy to define, but where there is growing consensus on its state of nation, Mei’s work, which defines itself as ‘Taiwanese artist’, is a valuable artistic contribution to reflection on the issues of power and identity.