策展人黃孫權於高雄市立美術館策劃侯淑姿個展三部曲。展覽匯集侯淑姿多年於高雄左營與鳳山眷村田野研究與創作的成果，由三個獨立又相互呼應的章節組成：《我們在此相遇》（2013，左營眷村）、《長日將盡》（2015，鳳山黃埔新村）、《鄉關何處》（2017）。
侯淑姿延續她「雙眸」的攝影語法——客觀景物與主觀文字並置，在眷村拆遷／改建命令下，記錄即將消失的聚落與居民。本展不只展示作品，也呈現田野過程與訪談，眷村女性的口述生命史在此成為主角。article 69 為策展人對《長日將盡》一章黃埔新村作品的論述。
Curated by Huang Sun-Quan at the Kaohsiung Museum of Fine Arts. The exhibition consolidates years of Hou Shu-tzu's fieldwork in the military dependents' villages of Zuoying and Fengshan into three resonant chapters: Here is Where We Meet (2013, Zuoying), Remains of the Day (2015, Huangpu Village, Fengshan), and Out of Place (2017).
Hou continues her dual-gaze photographic grammar — objective landscape paired with subjective text — to record settlements and residents on the brink of demolition under village reconstruction ordinances. The exhibition displays not only the works but also the fieldwork and interviews, foregrounding oral life histories of the village women. Article 69 is the curator's essay on the Huangpu Village chapter, Remains of the Day.
三部曲第一章。在左營復興新村、崇實新村等聚落進行的長期田野，紀錄眷村居民與即將拆遷的家屋。
First chapter of the trilogy. Long-term fieldwork in Fuxing and Chongshi villages in Zuoying, documenting residents and homes facing demolition.
三部曲第二章。聚焦鳳山黃埔新村的女性居民——在歷史與現實的處境下，對她們曾居住的房子的關心遠超過對她們本身過往的關心。策展人於 article 69 寫道：「作品中的劉奶奶，只有在展覽期間作品上的劉奶奶，才成為世人關注的對象。」
Second chapter. Focuses on the women residents of Huangpu Village in Fengshan — concern for the houses they lived in far outweighing concern for their pasts. As the curator writes in article 69: 'Granny Liu in the work becomes the object of public attention only during the exhibition.'
三部曲終章。整合多年田野，將眷村作為一個正在消失的記憶共同體完整呈現。
Final chapter of the trilogy. Integrates the years of fieldwork to present the military dependents' village as a vanishing community of memory in its entirety.
侯淑姿 Lulu Shur-tzy Hou