In these two installation works, words and sentences that have been turned upside-down and fragmented become entangled. These texts, which are quotations collected from female workers in Korean textile factories between the ‘70s and the ‘80s, are re-structured as a part of large-scale tapestry or textile collage hung from the ceiling. Hong, through such act of deconstructionist “re-writing,” intends to poetically highlight the individual narratives of female laborers that have been overshadowed by patriarchal metanarratives and thus liberate them from the reductive recording of history.