The solo exhibition includes two floating neon structures, alongside three marker drawings, and a group of neon on wood panels. The neon on wood panels were made thanks to the Peter S. Reed Foundation Grant, which Le was awarded in 2017. She conceived the works early on but was not able to realize them until 2019. During this time, Le went through a significant physical transformation, which profoundly changed the way she views her body, herself, and womanhood. In 2019, Le returned to the studio and established a drawing routine, which created a pictorial practice that intersects with her more known and vibrant neon work.
Krypton is rarely used in the retail application of neon, but Le uses the noble gas for its subtle and gentle aesthetic qualities. Glass, a hard yet fragile material, links to the psychological feeling of being exposed and vulnerable. Le forms tight and fluid angles while heating the glass tubes over the flame of a ribbon burner, and it becomes an extension of her limbs and thoughts.