[citation needed] Brouwn taught as a professor at the University of Fine Arts of Hamburg for multiple years.

The art that appeared upon the sheets resulted from the footprints of pedestrians and tire prints from cyclists.

Brouwn was seated upon a chair, placed atop a pedestal in the corner of the gallery with a polythene bag over his head.

That same year, at the opening of the René Block Gallery, Brouwn asked guests directions through the streets of Berlin through a walkie-talkie.

[6] One of his works, Afghanistan-Zambia, is a typewritten register of the number of steps Brouwn completed in various cities across the world, and a physical example of his concerns surrounding measurement and distance.

[2] Brouwn's works gained fame and earned him positions in a variety of prestigious exhibitions.

During his lifetime, his works were included in Documentas 5, 6, 7, and 11, at the Venice Biennale of 1982 (where he represented the Netherlands), and in a 2005 retrospective exhibition at the Van Abbe Museum.

In 2005, a retrospective collection of Brouwn's works was exhibited in the Van Abbe Museum in Eindhoven, Netherlands.

When discussing Brouwn's conceptualism in the 1960s, Art historian, critic, educator and author Antje von Graevenitz explained that “from 1960 up to the present, his work would indeed appear to be exemplary of the intentions and realisations of that period”.

Belgian curator and writer Laura Herman critiqued Brouwn's manipulation of existing and creation of new units of measurement, explaining that “a sly sense of humour permeates the artist’s appropriation of bureaucratic language, which he manipulated toward his own ends.

[11] Laura Herman stated that Brouwn continues to inform contemporary observations and reflections of scaled perspectives.