Nonetheless, Liang did not hold many exhibitions during this prolific period. The only exhibition that took place was Fertile Land at the store of Herb 24 in Eslite Xinyi Store in 2005. The exhibition title was inspired by two pieces showcased in the exhibition, Fertile Land I and Fertile Land II. The surface texture of these two works reminded the viewers of fields. Sanyi was surrounded by fields, and the earth nurtured all kinds of crops as well as different insects, worms, birds, and animals. Liang also grew up in the countryside and had a deep understanding of what earth meant to farmers. Fertile earth was a basic element to harvests, and these two works were like terraced fields observed from an aerial view. That was why they were named Fertile Land. Many of the works displayed in this exhibition embodied similar vocabulary that was reminiscent of field landscape. Later, this vocabulary would gradually become the diamond pattern and other morphed shapes in Liang's work. In addition, more than two third of the sculptures showcased in the exhibition had "legs"; they might have four or three legs, making them look like tables, chairs, or benches. However, they were not made to be "furniture." This dialectic concept was typical of the Post-Sanyi Period, and was embodied in series such as Non-Objects and Non-Books.

Although Fertile Land was not an "official art exhibition" in a gallery space, it delivered a significant meaning. It was like an overture announcing Liang's return to the art scene in Taipei and foretold his Taipei Period. After this, his climbing challenge in artistic creation no longer started at three thousand meters but five thousand.