[2] A number of monographs about his practice has been published including Per Hüttner[3], 2003; I am a Curator[4], 2004; Repetitive Time[5] 2006, Xiao Yao You[6]2006, Democracy and Desire[7] 2007.

[16] Hüttner's work investigates impermanence as a global principle, especially how ideas of permanence and purity are used to perpetuate social, political and economical structures[17] and how that influences human communication and interaction.

[19] The artist is inspired by French philosopher Gilles Deleuze[10] and particularly interested in how the relationship between larger political, economical and social structures affect the individual and vice versa.

[20] His work dialogues with the history of performance[21] and explores the genre in innovative ways by provoking the curiosity and imagination of the visitor as well as by reflecting on notions about time, knowledge and the human body.

He also created exhibitions, publications and lectures with biochemist Elias Arnér that dealt with the relationship between art, science and the human body in Stockholm.

[42] In 2004 he developed the performative aspects in the above-mentioned project and tied it back to a research about the limits of reality and documentary photography.

This philosophy does not only detail how to move freely across physical space, but is also a metaphor for how humans can transcend different kinds of obstacles and achieve a freedom of the spirit.

In a sequel to Begrepp - En Samling from 1992, Hüttner and Arnér created a project entitled (In)Visible Dialogues which focused on a series of conversations between artists and scientists at Konstakademien in Stockholm, Sweden.

[10] In her long text about the latter exhibition, the curator Cecilia Canziani shows how both the problematic of the singular and the collective, as well as myth and its ability influence reality, is highlighted in the artist's work:[9] "In Plato’s Symposium, perhaps the best known of his dialogues, Aristofanes recounts that once upon a time, human beings had two heads, four arms, four legs, they were complete, a whole, a unity.

Since then, we look for completion in the other, and such- arguably - along as being a metaphor of love, also serves as a symbol of the dialectic between singularity and collectivity that informs the political organisation of society.

[10] Delving deeper into questions of authenticity, the artist has also staged events that cross the boundaries of academic presentations, guided tours, and performance art.

These have taken place at institutions like MACRO in Rome, CAPC in Bordeaux, Rockbund Art Museum in Shanghai, Tate Britain and Hayward Gallery[10] in London and as part of experimental projects like The Invisible Generation[56] and the international research group OuUnPo.

[57] Contrary to the video work, where the sound is subdued, Hüttner often uses music in the recent performances and installations in order to purposefully create paradoxical and misleading timelines.

[58] These investigations into time, duration and the impermanent nature of knowledge have further been developed in an ongoing collaborative research with the Turkish writer/curator Fatos Üstek that started like a creative writing exchange in the Anglo-Austrian magazine Nowiswere[59][60][61] and that has led to interventions in museums like the Wacoal Art Center in Tokyo and Tate Modern in London[62] as well as in public spaces in New York City, Philadelphia, Porto,[57] Yokohama and Athens.