 His review, which described the tablet visual effects as "cute" and the exhibition as "cheesy" yet "surprisingly moving", was widely shared on social media.Forbes thought that the "amateurish nature" of the installation debased the high production values of the Biennale, and considered whether the work was the Ministry's own meta-commentary on the post-revolution's record of repressing freedom of expression.Brian Droitcour of "Art in America" wrote that the installation's message of peace as a natural state was "trite", and that in the atmosphere of the Biennale "any throwback to a transcendent project comes off as hopelessly hokey".