本文以批判型策展分析方法，分析由台灣藝術家姚瑞中擔任策展人的2020台灣美術雙年展《禽獸不如》，針對其展覽論述、展覽活動與展覽物件設計（如主視覺設計、展覽畫冊等），探討該批判型策展之策展方法，與其所反映之時代意義。本文將闡述以反思人類中心主義、關懷當前生態危機的《禽獸不如》，在策展的問題意識上聚焦於個人的貪念及私慾，並參考佛教與儒教的倫理學架構，強調自我否定式的反省與節制作為個人倫理行動的準則。策展人姚瑞中將《禽獸不如》直接做為一次倫理實踐，不僅藉此回應佛教與儒教的倫理實踐方式，也回應長久糾纏於亞洲當代藝術的西方中心主義問題。

This article uses a critical curatorial analysis method to analyze the 2020 Taiwan Art Biennale “Subzoology” curated by Taiwanese artist Yao Jui-Chung. The author focuses on its curator's note, exhibition activities and exhibition object design (such as visual design, exhibition catalog, etc.), to discuss its curatorial method as well as the significance of the times it reflects. This article demonstrates that the exhibition “Subzoology”, while dealing with the issues of anthropocentrism and current ecological crisis, focused on the problem of individual greed and selfish desires. The exhibition referred to the ethical framework of Buddhism and Confucianism, and proposed ethical actions such as self-denying introspection and abstinence as solutions. The curator Yao Jui-Chung straightforwardly designed the exhibition to be an ethical practice, and by doing so not only practiced the ethical spirit of Buddhism and Confucianism, but also responded to the problem of Eurocentrism that have long been entangled in Asian contemporary art.