Huang's art has moved beyond simply highlighting his observations and towards a deeper exploration of the relationships between objects, people, and their environment. According to his beliefs, an artist’s task is to ask questions and challenge viewers' perceptions of the world. With his work Covered Chi-Man Lai Sculpture, he has two expectations of the public: firstly, to capture their attention, and secondly, to make them aware of the issues he is raising through his art. Huang refers to this process as "making a wish" when engaging with the public. Although the public is a crucial part of his art, they may not always be familiar with the visual language that artists use, which is why Huang calls it "making a wish."

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In regards to the question of "what is expected to be understood" in Huang’s art, it can be linked to how Huang describes his approach to expression. He explained, "For example, when I post on the Internet, I don't want to write long articles. With my way of posting, I prefer to use Instagram to show you a photo with something unusual in it and leave some notes below. It's not like on Facebook where I write a long post discussing how unreasonable something is." In other words, Huang prefers a style that allows space for interpretation, while he does have some expectations for the viewer's direction.

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To talk specifically among the piece, Huang does not seem to expect much from the public. As he put it, "I think it's more like catching the audience's attention again and saying to the locals here: 'Hey, there's something here, look at it, it's really weird!'" Because Huang believes that the subject matter he discusses in Covered Chi-Man Lai Sculpture is more academic, he does not hold high expectations for the general public's understanding. He stated, "The general public may not want to see it because they may not care much about the feasibility or necessity of art. People may be more interested in discussing issues that are more relevant to their lives, such as environmental protection, race, or discrimination. Since our discussion is centered on public art, I recognize that this is too specific for them. It's better to leave it to professionals who want to discuss it.”

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Thus, it is understandable why Hsin may not have grasped the meaning of Huang's work. From Huang's perspective, "the wish" may not have been successful in Hsin's case. However, during our conversations, the success or failure of the wish was not the main focus of our judgement. Instead, what was more important was that Hsin attentively related his understanding of Huang as a friend to Huang's art.

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It is also worth noting that Hsin repeatedly mentioned how Huang's work and involvement in the arts have given him a different perception of art. He shared his experience of visiting Huang's studio at Taipei National University of the Arts and candidly admitted how this experience had overturned his previous perceptions of artists. Hsin stated that before visiting Huang's studio, he used to think that artists only wanted to be famous and show off. However, after seeing Huang's art and the professional skills he possesses, Hsin realized that this was not the case. He said, "The art Huang was making was 'really substantial.' He completely moves away from what's in the books. He gives me the feeling that he is equipped with all kinds of skills and is very professional."