Her artistic practice is both rich and varied and her subjects include: Dislocation between cultural status, conflicts between globalization and traditions, problematic environmental issues, the urban drama between the desire and reality.

One of Xing's first major works was the series disConnexion (2002–03), large-scale photographs of wires, circuit boards, and other computer waste exported from the United States to China's Guangdong Province.

It calls artists and their artworks from their studios to the streets, it witnesses the emergence of installation art in public spaces, and it accompanies and connects with performers in private apartments, evincing a strong, sensual closeness to them.

2001, two-channel video installation In Sleep Walking, Xing examines the effect of dislocation and how the mind can blur the distinctions between the past and the present, reality and fiction.

She has traveled to southern China to explore the effects of electronic trash recycling on villages and small cities in the Pearl River Delta in Guangdong Province.

In disCONNEXION, her critical eye and sharp lens examine the aesthetics of technological waste, reflecting environmental concerns, but more importantly, an anxiety about changes in the lives of workers along the south coast, whose ghosts can be sensed despite their absence from the frames.

Danwen Xing observed the entire toy production process and how designs are made for the international market to match the desires of people in every corner of the world.

Although the photos show only a fraction of the huge quantities of toy parts made in the factories, the work urges the eye to examine their differences and search for individuality.

The artist inserts theatrical scenes into a series of photographs of promotional models used by real estate companies, with her as the main actor in playful, fictitious incidents.

2007, Multimedia installation with photographs and video projection In Wall House, Xing stages herself inside a building designed by John Hejduk in the Netherlands, and her lonely presence draws its magic from the urban landscapes of Chinese cities seen from the windows of the space.

Confusion is triggered by the divergence between the apparent disaster that is contemporary life and the beautiful vision of a natural landscape from traditional Chinese ink art.

Xing expresses clear concern for the threatened nature, but more importantly, she borrows a phrase from Chinese philosophy: standing on Mount Lu means that one cannot see its true face.

461–486, by Johns Hopkins University Press 2014 Book The Reception of Chinese Art across Cultures, Edited by Michelle Ying-ling Huang, Chapter Twelve Reception of Xing Danwen's Lens-based Art Across Cultures by Silvia Fok, Cambridge Scholars Publishing, Dec 2014, Page 255-277, in UK 2014, ISBN 978-1-4438-5909-7 2013 Interview and Featuring Danwen Xing, contemporary photography magazine BLINK, Issue #21, LET'S FALL IN LOVE, February 2013 Jelena Stojkovic, The City Vanishes: Urban Landscape in Staged Chinese Photography, Journal HISTORY OF PHOTOGRAPHY, Volume 37, Issue 3, August 2013, UK, p360-369 Kitty Go, Focus: Artist Pension Trust, Uniting Commerce and Creativity, China Daily, 16–22 August 2013, p28-29 2012 Xing Danwen, When Art Happened, magazine LEAP, June, 2012, Beijing, p114-121 2011 Laurence King Publishing, ISBN 978-1-85669-787-3, UK, August 2011, P134-141 Shelley Rice, "Material Dreaming - Photography and Sculpture", magazine SCULPTURE, Vol.30 No.7, September 2011, New York, p48-53 俞若玫，“邢丹文：诗意摄影，折射社会发展光谱”，信报，Aug 24, 2011, 香港