In 1903 Japan held “The Fifth National Exhibition for Encouraging Trade and Industry” at Osaka. This was the first time Japan could exhibit their ruling efforts after seizing Taiwan in 1895, and in this context, the Taiwan Pavilion became the most focal point of the exhibition site. In order to further the mutual understanding between Taiwan and Japan, the colonial government called together a large number of Taiwanese gentlemen who went to Japan to visit the Exhibition. How did Japan present her first colony? In what vision did the Japanese fairgoers look and catch on Taiwan? How did the Taiwanese gentlemen watch and receive the representing image of the Taiwan Pavilion, the exhibition site, and the landscape of Japan? Our first finding is that the idea of Ino Kanori, the designer of the Taiwan Pavilion, did not conform to that of the colonial government. This contradictions reflects the heterogeneity of colonial knowledge between the bureaucrat and scholar, and the designer and fairgoer. A large number of Japanese fairgoers still considered Taiwan as the land of “the barbarian and bandit” even after they visited the Taiwan Pavilion. However, the main merits of the exhibition, “shokusan k?gyo? (encouraging industry)” and “bunmei kaika (civilization and enlightenment),” were successfully transmitted to the Taiwanese fairgoers. Incompatibly, when they went back to Taiwan with these merits and tried to promote education and economic environment, the colonial government hedged them about. Although the Osaka Exhibition offered the “shokusan k?gy? merit to both the Japanese and Taiwanese fairgoers, the Taiwanese did not have the same benefit as their Japanese counterparts. The fantastic site of the exhibition was, by and large, a true representation of “heterotopia of deviation” between the colony and the empire proper.