Hwang is considered to have made a radical break from the lyric poetry tradition and introduced queer imagination, subcultural thinking, and stateless language to South Korean literature through the genderqueer voice of multisexual subjects.

Critics would later describe him as "carrying out, through the play of signifiers, the near impossible work of restoring the world we lost to its original form" (Gwon Hyeok-ung) or as "a powerful detonator that will blow up the ideology of authenticity in modern Korean poetry and its tedious standards" (Lee Gwang-ho).

[4] As its title suggests, Hwang's first poetry collection explores queer themes and divided subjects by bringing to the forefront the "man dressed as a woman", a character of no clear gender.

His second poetry collection Teuraekgwa deulpanui byeol (트랙과 들판의 별 Tracks and Stars in the Field) portrays the wanderings, rebellions, and romances of children who failed to grow up.

[5] Hwang's third poetry collection Yukchaeshowa jeonjip (육체쇼와 전집 Body Show and Complete Works) sharply ridicules the existing social order, focusing on the idea of failure.