[16][17] Lê Hiền Minh has been using Vietnamese traditional handmade paper called Dó as her primary art-making material for two decades.

[21] Minh describes her intention "As the Dó paper tradition becomes a relic, I am exploring ways to reinvent it as a contemporary art making material.

[25] "18 loose cards housed in a blue box, each featuring a photograph of objects that belonged to the artist's father with handwritten memories on the reverse.

Among them, visitor Vu Thuy Trang said "Thanks to Roi Rac, memories about the past and childhood of the person in the artist’s generation become fulfilled through the experiences of others".

[27] "Female identity and labour, and gender inequality issues – these concepts have grounded, interwoven, and driven the artistic practice of Lê Hiền Minh since the beginning of her career.

[17][29][30] "Accompanied by a Confucianist phrase that translates to something like: 'A woman’s greatest duty is to produce a son,' the burgeoning balls exert a persistent pressure of male power.

[30] "This sweeping and provocative inscription in Balls received a variety of responses from viewers" also marked that "text plays an essential role in Lê Hiền Minh's works".

[28][17] "Writing - in the form of questions - is a way for Hiền Minh to avoid manipulating the viewer’s reading, understanding and perception of the work.

"In order to ‘extend’ sculpture (from a fixed, finished mass, to a more continuous process), writing - especially in the form of questions - helps to create a power- neutral space.

"[32] The first in the series was The States of Mind (2019) which contains five large female statues in five different poses, and was installed at a historical site and a Buddhist temple named Myorakuji[7][29][33] in Fukuoka, Japan.

[35] With this installation, Minh used "magnificent figures of goddesses from multiple indigenous beliefs" such as Đạo Mẫu, a folk religion believed to have originated from matriarchy of ancient Vietnam, to amalgamate with home appliances are "provoking, while also acknowledging, the strength of women in their seeming invisibility" and "challenges our collective understanding of monumentality and femininity, whilst persistently criticizing the social/gender hierarchy deeply embedded in all aspects of life – both traditional and contemporary – in Vietnam".