How to Eat Eggs formally explores the friction between the positive associations that go along with eggs and their new connotations as a carrier of toxic substances and therefore destructive implications. Eggs are the epitome of positive growth, pleasant anticipation and biologic balance. However, since the two recent food scandals in China, eggs have radically changed their image. In 2007 produce was recalled from the global market after melamine, a chemical substance made from coal was detected in animal feed, and again in 2008 when it was found in diary products and infant formula. Scrap melamine is used to alter diary products or added as a cheap substitute for protein in animal feed in order to achieve greater profit margins. As a result of its subsequent entrance into the human food cycle, 300,000 people were sickened and at least four children died due to the consequences of renal failure. Since this scandal, the international debates about governmental responsibility of food safety have gained momentum. Beyond that, both the incident and the mapping of Chinese produce around the world show the extent of global entanglement in food production, as well as the intra-dependencies of its markets.

The exploitation of capitalism without restraints and the exponential growth of China's economy are currently peaking. However, the struggle of the highly competitive global food market is revealed as spectacle of capitalism by Fang Lu's gesture. By proposing absurd ways to dispose the contaminated mass of eggs it becomes clear that we nevertheless remain in close proximity to these potentially toxic substances. With poignantly silent but violent imagery of destruction, Fang Lu shows that her efforts fail to eliminate the substances although the eggs are broken.

In six short videos that are specifically constructed to be accessed and commented on through this website, Fang Lu enables an interactive engagement on How to eat Eggs. Fang Lu's media choice of appropriating the aesthetic of youtube and other user-generated sites expands the traditional understanding of art viewing. In fact, her strategy points to the constructed experience of viewing art in the white cube and its internal debates on high and low culture. In addition, the multitude of motives, ranging from personal leisure, disseminating radical politics, advertising and art practices resonate with Fang Lu's art practice. Based both, in China and the U.S., cultural and political tensions reverberate as yet another layer of friction in her work.

For a more detailed description of the project read the article by Gwen Kuo.