The sum of all recognizable human behaviors, materials and non-materials might be the concept mentioned by Daniel in his narrative of materialization. It is not restricted to the conversion of thinking and concept by material but about accumulation which is both unstable and uncertain. He intentionally separates this form of art from sculptures, paintings or installations. Rather than defining his creations and works within Dadaism, conceptual art, art of intertextuality or relational aesthetics, he thinks more about constantly-changing forms in integrated temporal clues and issues in super-fast society, as well as potential consequences of openness.

Powder created in 1994 implies characteristics of relational aesthetics. Performing elements are involved such as exhibits (cocaine) confiscated by the police station and policemen on duty; patterns in powder, primitive impulses and protection with bullet-proof glass; real scene and secondary media coverage. His habits are similar to streaming media today as their focuses and works are constantly adapting and transforming themselves. With spectators and researchers feeling perplexed like engulfed by heavy fog, it is hard to have a focus when carriers of the work keep changing themselves.