This particular sculpture, Untitled (Xanthorrhoea; grasstree), is part of a lineage that extends from Fiona Hall's earlier series, ‘Paradisus Terrestris entitled’ (1996), now in the collection of the National Gallery of Victoria, and ‘Paradisus Terrestris’ (1989-90), now in the collection of Queensland Art Gallery | Gallery of Modern Art. These series, informally known as Hall’s ‘sardine can’ works, delve into the intersections of human anatomy, botanical imagery, and cultural commentary.

Drawing inspiration from these acclaimed series, Hall has repurposed a sardine tin and an aluminium can to create Untitled (Xanthorrhoea; grasstree) wherein the erogenous zone of a human body is juxtaposed with a botanically accurate representation of native Australian flora, in this case, the Xanthorrhoea plant. This juxtaposition serves as a visual metaphor for the collision between culture and nature, echoing themes of environmentalism and colonialism prevalent throughout Hall's oeuvre.

The choice of the Xanthorrhoea plant as the focal point of this sculpture is significant. Also known as the Balga Grass Plant, the Xanthorrhoea plant holds cultural significance in Australian indigenous communities. The term "black boy," once colloquially used to refer to this plant, has since been recognised as offensive and racially charged. Through her practice, Hall brings attention to the complexities of language, identity, and cultural heritage in postcolonial contexts.