《日常》是將二千多件從嘉義縣居民收集得來的日常物品，放置於玻璃磚內，再加上在亞洲八個地區收集的十多塊土磚砌成牆壁，最後製作成一間沒有屋頂的 玻璃磚民房。梁博士希望透過展示來自民間的小物件，來呈現市民的平凡喜好，在全球化衝擊下，體現出本土的主體文化；而來自亞洲各地區的磚頭，則組成亞洲土 地的聯合印象與質感，展現出亞洲多元的融合理想。在陽光和夜燈映照下，玻璃磚內的物品影子會被灑落放大，突顯嘉義居民的日常生活，與故宮南院的輝煌氣勢形 成強烈的對比。
對於獲選於上海和台灣設置作品，梁美萍博士說：「製作公共雕塑涉及相當複雜的程序，當中的籌備及製作過程，以及與其他創作人的交流，著實令我學習了 很多，了解到內地與台灣在這方面相當先進前瞻，而且對藝術和文化的融洽亦很關注；相反，香港能容納公共雕塑的地方及空間相對較少，寄望添馬鑑的工程能配合 公眾藝術的發展，延伸出更多社區文化的元素。」
"Daily" is a roofless glass house made from more than 2,000 glass bricks in which quotidian objects collected from the Chiayi citizens were inserted, together with around 20 bricks collected from eight regions in Asia. Dr. Leung said she hoped to present what the ordinary people treasure through the collected objects and to show the importance of local culture in the context of globalisation. The bricks collected from different Asian regions convey the unity and texture of land in Asia and reflect the diversity of integrated ideas in Asia. Under sunlight and twilight, the shadows of the objects in the glass bricks are enlarged, further highlighting the lives of the Chiayi citizens and offering a strong contrast to the splendid Museum.
In response to her works being selected for display in Shanghai and Taiwan, Dr. Leung said: "The production of public sculptures involves a series of complicated procedures and I learned a lot through the organisation and production process as well as exchanges with other artists. I realised that both the Mainland and Taiwan are advanced in the area of public art and they are also greatly concerned with the integration of art and culture. On the contrary, Hong Kong has little open space to accommodate public sculptures. I therefore wish that the development of Tamar in Hong Kong will cater to the development of public art and extend its community cultural elements further."
http://buoac.hkbu.edu.hk/hkbu/text/whatshot/newsdetail.jsp?id=2057
有好幾間。