Làm Chó Bò ~ Making Trouble explores the multifaceted dimensions of Melbourne-based artist James Nguyen's PhD research, offering both an exegetical analysis of Nguyen’s artistic oeuvre and an expansive examination of critical themes. Central to the exploration are insights into institutional research culture, probing the complexities of research ethics within these frameworks. The text navigates through archival art and activism, addressing the dynamics of translation, migration, Australian settler-colonialism, and the significance of Indigenous land acknowledgements.

Of particular resonance is the intergenerational narrative of the postwar Vietnamese diaspora, intricately woven with the legacies of Vietnamese feminist poetry, including works by Nguyen's mother, Nguyen Thi Kim Dung. The book is enriched by a foreword penned by esteemed Bundjalung, Kamilaroi, and MuruWarri artist and educator, Professor Brian Martin, whose perspective adds depth to the discourse.

At its conceptual core is the notion of "chó bò," a Vietnamese term phonetically similar to "trouble." Nguyen elucidates: “chó bò is the approximate Vietnamese homonym for trouble. Literally translated, "chó bò" is a dog~cow or dog~crawl. Either way, these linguistic slips produce an absurdist assemblage, a troubling word play when spoken. This linguistic interplay, often perceived as disruptive or troublesome, becomes a vehicle for cultural commentary and resistance within English-speaking Vietnamese communities. Nguyen’s exploration underscores how informal acts of translation and language brokering can metaphorically articulate the complexities and challenges inherent in the Vietnamese diaspora, confronting normative structures and advocating for epistemic disruption.

Làm Chó Bò ~ Making Trouble emerges as a profound synthesis of artistic practice and academic inquiry, inviting readers to contemplate the transformative potential of linguistic play and cultural expression in navigating and challenging societal norms.