本书是【聚焦系列】的最新作品，聚焦当代艺术家的新作品，持续探索了作者身份、原创性和真实性的概念。

谢丽·利文（Sherrie Levine）有意复制其他艺术家的作品和风格，因此她的作品和原作几乎没有区别（如《亨利·马蒂斯之后》（1985）和《费宁格之后》（2021）系列）。这些作品参考了现代主义大师的作品，对英雄式的男性艺术家的刻板构造提出质疑。在她的《雷诺阿之后的单色裸体》 (2016)系列中，利文用电脑程序计算出雷诺阿画作中裸体人物的平均色调，然后用这种颜色创造出单色板。首次出版的《香港多米诺骨牌：1-12》（2017）复制了利文在香港购买的一套多米诺骨牌的图案，唤起了极简主义艺术和流行游戏。

这本画册还收录了拉里·列斯特（Larry List）的一篇新文章，追踪了利文的灵感和艺术实践的历史，以及珍妮·西格尔（Jeanne Siegel）对利文的采访，这篇采访最初发表在1985年6月的《艺术杂志》上，探讨了艺术家对挪用图像的运用。

The latest in the Spotlight Series, which focuses on new bodies of work by contemporary artists, Sherrie Levine: Hong Kong Dominoes showcases several series that distinctly engage the artist's ongoing inquiry into notions of authorship, originality, and authenticity.

Many of the works are consistent with Levine's practice―the deliberate reproduction of other artists' works and styles, so that her work and the original are nearly indistinguishable (as with the After Henri Matisse (1985) and After Feininger (2021) series). A number of the works make reference to modernist masterpieces, questioning the stereotypical construct of the heroic male artist. In her Monochromes After Renoir Nudes (2016) series, Levine used a computer program to calculate the average tone of the nude figures in Renoir's paintings and then used this color to create monochrome panels. Published for the first time, Hong Kong Dominoes: 1–12 (2017) replicates the patterns of a set of dominoes that Levine purchased in Hong Kong, evoking both minimalist art and popular games.

The catalogue also features a new essay by Larry List, which tracks the history of Levine's inspirations and artistic practice, and an interview with Levine by Jeanne Siegel, originally published in the June/ Summer 1985 issue of Arts Magazine, which explores the artist's use of appropriated imagery.