[a] Now a major part of Samoan culture, foreign-produced pisupo such as corned beef has become ubiquitous across their communities both in Samoa and across the diaspora, with gifting of these items customary at weddings and birthdays.

The bull is both representative of the animal corned beef comes from (and the environmental impact it has in Samoa, an especially climate crisis-vulnerable country), and the strength of the Samoan people to overcome colonialism.

Pisupo Lua Afe concerns New Zealand's questionable trade practices across the South Pacific[citation needed], where it wields significant influence as a regional power.

Neocolonialism is addressed here via the choice of corned beef; after Samoa's independence from New Zealand in 1962, food businesses in the latter country have greatly contributed to an unhealthy diet that many Samoans have fallen victim to.

Critics commended the originality of Tuffery to use pop art in a way that addressed racism and economic dependence, and how the aesthetic simplicity of the work meant it could appeal towards children, as well as adults.

[3] In her writeup for the Christchurch Art Gallery, curator Jennifer Hay described the work as a “wry socio-political message” concerning the place of foreign imported goods in Samoa as part of the larger presence of colonialism in the Pacific Islands.

Working with artist Patrice Kaikilekofe, his bulls, accompanied by Samoan drumming and dancing, were wheeled along a route through central Wellington to the City Gallery in Te Ngākau Civic Square, where a "bullfight" commenced.

[5] In Brisbane, the bulls were raced around inside the gallery while fireworks exploded, surprisingly causing no damage; this fiery spark is said to sum up Tuffery as a groundbreaking artist.