李明學混合了不同香料，製成小型沙堡，展示於像台座般的文件櫃上。供作香料的植物，原為生存或繁衍而自然散發刺激氣味，卻吸引了人類的採集、種植與加工，甚而引發香料戰爭與殖民掠奪歷史。由粉末堆建的香料城堡，作為過往高高在上的權位象徵，同時也暗喻其非永固的本質。被拆解的樓梯，於此也不再能向上爬升階級，而是水平橫陳，有如圍欄，卻又未能區分邊界。另外，超過200隻採集自臺灣的不同昆蟲的標本，群集其間，突顯了在地的生物多樣性。台灣的原生種植物馬告，特別以鮮綠活體現身，與那些已化為粉末、形成具體城堡意象的香料，微妙對應。此作中的跨物種場景，不僅牽引出區域與全球的複雜關係、（後）殖民的歷史演化，更揭示「地方性」的存有與其多重意義。

Lee mixes various spices to build miniature sand castles and displays them on filing cabinets that serve as pedestals. Originally, plants emit stimulating aromas for survival or reproduction; however, these smells ended up drawing humans closer to the plants. Humans then started to collect, cultivate, and process these plants for producing spices, which eventually led to Spice Wars and colonial plunder in history.
Castles made from powder no longer convey nobility, permanence, or strength. The disassembled stairs no longer allow people to ascend, either; they lie flat on the floor like fences, yet set no boundaries. Over 200 specimens of native Taiwanese insects are displayed, showcasing Taiwan's rich biodiversity. Among these objects, the native Taiwanese plant, makauy (mountain pepper), makes a special appearance as a fresh green living, subtly contrasting with the powdered spices shaped like castles.
This cross-species scene reveals the intricate, interconnected relationships between a region and the globe, the evolution of (post-)colonialism, and the existence and multiple implications of 'locality'.