Since the late 1990s, a series of sculpture practice by Swiss artist Thomas Hirschhorn has aroused continuous attention and discussion in art critics. Among them, the most typical ones are Benjamin HD Buchloh, Pamela M. Lee and Hal Foster from the American “October” (October) ) magazine reviewers interpreted it based on different perspectives. These comments not only expand our understanding of Hirshhorn and his artistic practice, but also their writing itself constitutes a parallel theoretical narrative. What first aroused Buchloh’s interest was Hirshhorn’s series of “altar” sculptures, that is, “Mondrian’s Altar” (1997), which was created in different spaces in Geneva, Basel, Berlin, and Zurich. “Bachmann’s Altar” (1998), “Freundrich’s Altar” (1998),…