This approach is once again illustrated in his new work "Latitude Manufacture".Chou painted paintings within paintings, and the paintings within the paintings are invisible (yet unfinished) parts of the work which may only come to surface through transactions. Once a painting is sold, it would be delivered to the buyers along with entities of the picture-in-picture. The picture-in-picture will not be colored, as it awaits for the buyers to paint them (with pigment supplied by the artist), and only then would the work be truly complete. Therefore, in this toilsome articulation of the procedure, we witness the paintings making constant self-references, which eventually strip them of their own contents. As a result, the word "artwork" becomes but a similar concept to the synonym, causing the relation between "artist + collector = artwork" to be nothing more than a simple declarative sentence.
This is the alternative means of reasoning employed by Chou when confronting Institutional Critique. He is not only familiar with these issues, but also with the discussions triggered by works of art. The significance, however, lies not in assessing the worth of deliberating over these issues, but in how each process of Chou's art ecological analysis has a way of redefining its economic facet. In respect to matters of value and exchange, he attempts at a somewhat comically straightforward attitude in creating a particular economic role for the artist within the capital-dominant world of contemporary art.