This work was first exhibitioned in the seminal inaugural Gerakan Seni Rupa Baru (New Art Movement) in 1975 and is considered the earliest example of contemporary installation art in Indonesia. The use of readymade objects not crafted by the artist confront the ideals promoted by S. Sudjojono and other artists in Indonesia at that time. These ideals include how emotions and sensibilities manifested in the artwork should be mediated by the labour and marks of the brushstroke, chisel, or handwriting to evoke the "jiwa ketok" (sound of the spirit). The creation of space and an immersive experience also provoked discussion on the wider notion of the real, or 'concreteness', as Supangkat argued in the exhibition catalogue.Along with other works in the 1975 exhibition by FX Harsono and Siti Adiyati, this work centred on the roles and situations of women and indicated an early exploration into critical issues such as gender and religion.
