In previous projects by Yu-Cheng Chou, the artist subjects the origin and distribution of resources in a series of economic discussions as the method of his creative pursuits, questioning issues related to institutions, enterprises or art galleries. The recent project "Working History" is implemented via similar concepts by working with "people" instead. By acting as the intermediary and holding an economic approach to the project, a realistic plan which reveals hidden economic realities is thus activated. At the beginning of the project, the artist employed a near sixty-year-old temporary worker through a newspaper advertisement; another anonymous text worker was simultaneously appointed to collaborate in the project. After gradually earning the temporary worker's trust through constant communication, the three finally began their interview work together. A simplistic and realistic writing style was used for the compilation of the temporary worker’s entire working history, from the very beginning to the transitional stages, until the end——the story commences with agricultural work in Southern Taiwan, and proceeds as the protagonist moved to Taipei due to economic factors, initiating a period of coping with temporary employments, working in the catering services, facing the processes of socialization, enduring business failure, emigrating to work in the Mainland, gambling, turning to alcoholism, all the way to his current short-term work life....Taiwan's former socio-economic situations and alterations were slowly delineated and culminates as descriptions of the man's working life also reaches an end. The second stage regards the output of the project; the artist employed the temporary worker with the exhibition budget whereupon he is asked to appear at the site of the exhibition in the identity of a security guard. Therefore, the exhibition of the project took form as the publication "Working History" and also the physical presence of those involved. The exhibition of the "Working History" project displays the interdependence between opportunity and work, thus the reemergence of the temporary worker in "future" exhibitions may suggest an undertone for the recurrence of implicit contradictions and uncertainties (or/ unemployment).

The clothing pattern often worn by one of the parties during the interviews was adopted as the visual scheme for the exhibition display, which may be transformed into a low platform or bookcase according to the spatial conditions of various sites.