Danh Vo's *Biscuit Porte Bonheur* (2012) reflects the artist's characteristic engagement with history, identity, and cultural exchange through the use of found and repurposed objects. The work invites contemplation of personal and collective memory, weaving together narratives of migration, colonialism, and belonging that are central to Vo's broader practice. As with much of his work, the piece operates in the tension between the intimate and the monumental, transforming everyday or overlooked materials into charged sites of meaning.