The city contains many buildings by architect Le Corbusier, and his symbolic structure, the Open Hand Monument, a metal weather vane that rotates in the wind.

In this work, Hipkins explored the idea of nationhood, and the signs and symbols used to express a sense of belonging to a place, especially, as he described it, 'in the turbulent wake of British Imperialism'.

[9] In the publication accompanying the exhibition art historian Peter Brunt wrote: The work requires its spectator to walk by it, so that the process of looking at it transpires in time.

[10]Works from The Homely were shown in Flight Patterns, an exhibition curated by Connie Butler for the Los Angeles Museum of Contemporary Art.

2000 small c-type prints depicting strands of liquorice were laid like raceway circuits around three gallery walls, accompanied by one large photograph of a skeletal Indian sculpture, Eurasia, and a video work showing plates of milk being slowly dyed blue or red with jelly crystals.

[12] The Habitat is a series of 72 silver gelatin prints, hung in a single line as a frieze, that take late modern and Brutalist buildings in New Zealand university campuses as their subject.

[18] Curator Robert Leonard wrote of this work: Geometric yet organic, the blobs resemble at once alien pods, igloos, pup tents, breasts, the curvaceous hills and mud pools of his native New Zealand, and bacteria.

The work could imply a macroscopic view (an imperialist invasion, a commune of hippie drop-outs in their geodesic domes, or a high-tech off-world encampment on a weirdly hued planet) or a microscopic one.

[19] While undertaking post-graduate study at the University of British Columbia, Hipkins decided he wanted 'one sustainable, heavyweight project' to focus on.

made up of 95 c-type prints, the work uses the 'Fall' form and features imagery as diverse as buttons, car racing, and female faces and bodies.

In them, Hipkins documents parks, gardens and zoos in cities in various countries (including Shanghai, Rotorua, London, Melbourne, New Plymouth and Hong Kong), often selecting details to focus on rather than following the traditional formats of landscape photography.

[7] These images are then superimposed with photograms of sinuous abstract shapes; lengths of ribbon, strands of beads, chain necklaces and threaded sequins.

[23] In these works, images from artworks and objects in museum collections are overlaid with oversized scans of buttons sourced from New York's garment district, located near the residency hub.

[24] In Empire, Hipkins first used the method of taking scans he made of colour plates in books and then overlaying them with an embroidered patches and decals bought from markets and music stores.

Hipkins selects narrative black and white photographs from his archive, which Fritsch then applies metal and gem stones to, puncturing, filing back and variously altering the surfaces of the works.

[41] In 2016, Hipkins was invited to make a work as part of a commissioned set of moving image responses to the writing of New Zealand artist Julian Dashper.

Hipkins' resulting work New World melded extracts from an 1849 report encouraging immigration to North-East Texas, title-cards resembling abstract paintings, Google Earth footage and reproductions of plates drawn from the 1876 book American Pictures Drawn with Pen and Pencil as well as solarised reproductions of images from early 1980s copies of National Geographic and Penthouse.