Chou's works reflect on the existing status quo through 'design tricks", and he highlights the discrepancy between individuals and existing facts through manipulating "products" and "procedures". Approaches Chou utilizes include modification, shifting, transfer, and the differences of time or locations. With such techniques Chou creates the dialectical interplay between the source and the result of his creations. In his recent projects. Chou has designed "paths of economic structure", so that alternative benefits are generated for the businesses or organizations which participate in these art projects. Meanwhile, the artist merely assumes the role of a mediator or lobbyist. For instance, Chou proposed the "TOA Lighting"project after he noticed the possible deficiency of lighting in Hong-Gab Museum. Successfully winning the sponsorship from the private company by offering the title of the art and recessive advertisements, he completed the project and transferred the ownership of lighting to the Museum afterwards. At the same time, the exhibition site is depicted in a painting, becoming another piece of work and being displayed at a commercial site. This operation enables the business, the Museum and the Gallery to all obtain what they need. Chou's works are embedded with a certain dosage of criticism, yet they have also created a new relationship and status for the artist and his object. The project Rainbow Paint" derives from the concept of ''TOA Lighting" in which lights became the medium between the artist and economic operations. The standard color of the museum wall, "off white" or "white", has become the artist's entry point into this space, same as the yellow or white lights mentioned in "TOA Lighting"." Rainbow Paint" is like a 'happening" or 'suggestion', created not to solve the physical problems of a space or the clever economic benefits of a substance, but more to pose questions in contemporary art spaces on the use of "off white" or" white". Therefore, after the exhibition, the white paint sponsored by the enterprise will be dispersed in exhibition spaces that are willing to use "white paint".

Chou's works reflect on the existing status quo through 'design tricks", and he highlights the discrepancy between individuals and existing facts through manipulating "products" and "procedures". Approaches Chou utilizes include modification, shifting, transfer, and the differences of time or locations. With such techniques Chou creates the dialectical interplay between the source and the result of his creations. In his recent projects. Chou has designed "paths of economic structure", so that alternative benefits are generated for the businesses or organizations which participate in these art projects. Meanwhile, the artist merely assumes the role of a mediator or lobbyist. For instance, Chou proposed the "TOA Lighting"project after he noticed the possible deficiency of lighting in Hong-Gab Museum. Successfully winning the sponsorship from the private company by offering the title of the art and recessive advertisements, he completed the project and transferred the ownership of lighting to the Museum afterwards. At the same time, the exhibition site is depicted in a painting, becoming another piece of work and being displayed at a commercial site. This operation enables the business, the Museum and the Gallery to all obtain what they need. Chou's works are embedded with a certain dosage of criticism, yet they have also created a new relationship and status for the artist and his object.

The project Rainbow Paint" derives from the concept of ''TOA Lighting" in which lights became the medium between the artist and economic operations. The standard color of the museum wall, "off white" or "white", has become the artist's entry point into this space, same as the yellow or white lights mentioned in "TOA Lighting"." Rainbow Paint" is like a 'happening" or 'suggestion', created not to solve the physical problems of a space or the clever economic benefits of a substance, but more to pose questions in contemporary art spaces on the use of "off white" or" white". Therefore, after the exhibition, the white paint sponsored by the enterprise will be dispersed in exhibition spaces that are willing to use "white paint".