The thing that strikes me in the exhibition and Vo’s work is the continuity of his work through in his art career. He is extremely sensitive and able to extract, collect, and select ready-made objects, as well as familiar objects that contain symbolic meanings, representations, and even historical meanings from different places and time periods. Danh Vo's philosophy is not "creating" an object to make art but presenting something already powerful but sometimes hard to noticed or easily ignored without his manipulating.
He makes work by reconstructing, deconstructing, and presenting ready-made objects. In his work, We the People (detail) (2011–16), Vo disassembles a one-to-one replica of the Statue of Liberty, regarded as the symbol of America. The reproduction of the Statue of Liberty is not a ready-made object but does have meaning, as the Statue of Liberty
Some works evoke history museums instead of art museums. For example, A Group of 4 Presidential Signing Pens (2013) simply shows four pen heads that were used to sign a bill that affected the Vietnam war. Evidence of a significant event, it raises a question to the viewer: "The pen heads are here but where are the people who used them?" Vo’s work Two Kennedy Administration Cabinet Room Chairs (2013) shows exactly what the title indicates. These two chairs may have historical value like objects in museums, but Vo collects them and presents them as his own artwork. I think one fascinating thing in the show is that you can stand in front of something that has been through important moments in history. These objects help you visualize and connect back to these moments. Vo's exhibition creates a space in-between a history museum and an art museum asking whether it can be both of them at the same time.