Rania Ho explains that her identity as a Chinese-American “makes it easier to be an observer of what’s really happening because I’m camouflaged”; this dual-though-marginal identity becomes the central subject and inspiration for many of Ho’s interactive, multimedia installations. Ho, who used to work in interactive design, makes works that are humorous and resemble games, but also have serious undertones and make critical social observations. For example, many of her works address China’s state of mechanized modernity and its controversial labor policies by using mechanical, moving parts. In her “Dancing Toasters” (2000) series, Ho made a number of refurbished kitchen appliances that run on loops or perform off-purpose activities. She’s also known for a series of inflatable works, including Flesh Pod (2005) and HoFatso (2005).