[5] Mwangi's 2000 work Neger Don't Call Me features photographs of her face covered with masks made from her dreadlocks.
[7] As a creative strategy to resist fixed notions of identity based upon gender, race, and cultural backgrounds, Mwangi Hutter strategically merged names and biographies to become one artist.
They consciously use themselves as the sounding board to reflect on changing societal realities, creating an aesthetics of self-knowledge and interrelationship.
Mwangi Hutter reflect on the subjects of border-crossing and finding identity, which both can be understood in a political, as well as a very personal, intimate sense.
[8] Book chapter about Mwangi Hutter: by BM Van Hoesen in "German Colonialism in Africa and its Legacies",[1] 2023