French artist Sophie Carr's representative work, Take Care of Yourself, takes its name from the last sentence of a break-up letter sent to her by her ex-boyfriend. She thought it was full of hypocrisy and cunning, with a certain amount of concern, but also seemed very superfluous, but Sophie Carr also started to treat herself from this sentence. She sought out 107 women to interpret the breakup letter the girl received after being dumped from the perspective of their respective professions, including a lawyer-dancer, psychiatrist, Olympic athlete, psychologist, tarot card teacher, gender expert, crime expert, writer, and so on, as well as a female parrot.

By various means, each word, phrase nuance and possible meaning was analysed and 107 answers emerged to form a comprehensive reading of the letter. From psychic reactions to scientific research, from fairy tales to divine revelations, from anthropology criminology philosophy to psychiatry, from the perspective of theatre opera soap operas. Its a detailed exploration, of the grieving process of breakups and heartbreaks as well as a critique of the pain caused by the man's use of email as an escapist, and so cruel, way of announcing the breakup.

The artist exhibits the letter by anonymising the hero as Ickes. The French lawyer's reading of the letter concluded that Aix could be sentenced to up to two years in prison. The psychoanalyst tried to find a path to reconciliation. The literalist team members broke down the text in detail, even down to the way punctuation was used. The clothing designer used this to create a blue shirt, a headhunter, as a way of analysing his predecessor's limited ability to do his job. The female parrot treated the letter like food, taking it in her beak and tearing it apart repeatedly. The full-time mother reads this letter while chopping onions, snot and tears smeared on the paper, and so many different ways.

Through the participation of other women, the letter is turned into a bit of fascinating research and a deeply moving experience. In depth, the letter eventually disappeared into the exhibition, and the installation, composed in the form of video, photographs and texts, transformed what was originally a humiliating, private pain into a transcendent social act, and naturally the pain disappeared as well. This almost encyclopaedic library of multifunctional responses makes this work a generous, humanitarian and even liberating one.