In January 2005, thirty years after the end of the Vietnam War, Swedish artist Veronica Brovall created a sculptural intervention called Home Tunnel in a local house in Vietnam's Ho Chi Minh City. The house was transformed into dwelling so fraught with tension and danger, viewers were forced to move through a maze of piercing projectiles in order to enter and exit the structure, that the structure ultimately became uninhabitable Yet there was hope. Through sheer force of perseverance and will, visitors might be able to successfully navigate the house's reconfiguration. Whether unbenounced or not, Brovall's work shared a strong link between its history of place from the Vietnam War to of the Viet Cong. Her personal voyage through the struggles within the inter-personal dynamic of the Western home are superimposed on Home Tunnel, echoing other sentiments that negate neutrality in reading this artwork.

The idea for Home Tunnel came to Brovall while she was participating in the International Sculpturing Symposium in Chau Doc, Viet Nam in 2003. After the symposium, she traveled to South Vietnam and stayed in Ho Chi Minh City. Here, she states, a feeling of calm, far away from the worries of everyday life in Europe, emerged in her. Even though Ho Chi Minh City is a fast paced and chaotic place with a limited contemporary art scene, Brovall's will and determination carried her through issues like receiving a police permit to publicly show her work only the day before the opening. Home Tunnel opened on January 22, 2005 with approximately 200 people visiting the house and generating feedback from newspapers to web reviews.

As an overview to the piece, it should be noted that the interior of the house used in Home Tunnel was converted to a hostile place where the furniture was impossible to use and negotiate. Beds and couches had knives piercing their surface, sharpened bamboo sticks protruded from the dinner table and chairs; all the furniture had the appearance of devious booby traps, dangerously waiting to impale careless viewers. Large black tunnels crudely similar to ventilation ducts guided viewers haphazardly through the house. The incorporation of everyday objects in a cobbled together manner gave Home Tunnel a "homemade" appearance. The structure's arrangement was a radical disruption or detourné of how each of these elements would normally be used, thus, creating tension and creating a compounded sense of isolation, loneliness and intimidation.

What seems apparent about Home Tunnel is that its everyday contents were subverted so the familiar became hostile; a home decorating project gone terribly wrong. Home Tunnel's appearance was diametrically opposed to the well-designed and comfortable homes portrayed in decorating and improvement television programs and magazines throughout the West. The Western aesthetic centres on creating a home as a sanctuary for family and from the imposing world. A historical similarity exists in the 1950s and 1960s where suburbia translated into shelter and escape from urban centres, a new utopia. Uncannily, Home Tunnel is like a flashback from American TV wherein the audiences first viewed the horrors of the Vietnam War. The artwork is like an unwanted intervention bringing reality too close to home while also changing the social conventions of how to read a home.

Brovall's work may comment on the Western myth of the idyllic home, reflecting that each of them are facades and constructs; their comforting surface hiding the psychological warfare waged by its residents or its social history. Her conversion of the everyday objects into dangerous booby traps mocks the concept of the ideal home. Brovall's home is a dangerous place where even the slightest false move by its inhabitants could cause untold pain. The subverted and altered furniture pieces become the home's inhabitants, perhaps members of a dysfunctional family waiting for any excuse to exert pain. Places where family communication are supposed to occur, such as the dinner table and couch, are decommissioned and rendered mute by their inhabitability. The bed is more useless than inviting covered by knives. Only the black tunnels laid throughout the house offered a safe haven or mechanism for travel amongst the rest of the traps.