 He called the "harmless wordplay and flashy gadgetry ... a safe choice for a bureaucracy aiming to promote quiescence" in the years following the 2011 Egyptian revolution.Alexandra Stock of "Madr Masr" wrote that the pavilion's aims were unclear, with inconsistent conceptual information between the exhibition's promotional materials, and that the tablet software was gimmicky and had issues with its programming.She wrote that the list of government agencies as curators of the exhibition was its "most mysterious element".