Hüttner's work investigates impermanence as a global principle, especially how ideas of permanence and purity are used to perpetuate social, political and economical structures and how that influences human communication and interaction.
The work often deals with transformation, change or various forms of transgressions of boundaries or borders.
The artist is inspired by French philosopher Gilles Deleuze and particularly interested in how the relationship between larger political, economical and social structures affect the individual and vice versa.
His work dialogues with the history of performance and explores the genre in innovative ways by provoking the curiosity and imagination of the visitor as well as by reflecting on notions about time, knowledge and the human body.

In the late 1980s and 1990s much of Hüttner's installations used computers, video and other new media.
He was one of the first artists to create installations that used computers as a sculptural element and at the same time allowing them to present vast and complex information.
The artist also used contemporary medical science to develop work based on research on the human brain at the Pitt Rivers Museum in Oxford, England - looking at how the brain remains in a constant state of change and regeneration.
He also created exhibitions, publications and lectures with biochemist Elias Arnér that dealt with the relationship between art, science and the human body in Stockholm.
In Begrepp - En Samling (Concepts a Collection) they brought together artists and scientists to dialogue about metaphysical questions.

In the late 1990s Hüttner took his interdiscplinary experiences and implemented these into a series of exhibitions investigating the relationship between the art object and the exhibition.
In 2001 he co-curated an exhibition at Nylon with Goshka Macuga and Gavin Wade.
Other noteworthy exhibitions that dealt with these issues and that engaged the audience in continuously reshaping the exhibition include: I am a Curator at Chisenhale Gallery in London, Repetitive Time at The Art Museum in Gothenburg and Participate?
at CEAC in Xiamen, China and at Basekamp in Philadelphia.

Parallel to this activity Hüttner created a photography project entitled "Jogging in Exotic Cities" where the artist went jogging repeatedly in far away cities that remain exotic to a western audience.
In the photographs we see the artist dressed in white clothes as he makes his way through bustling cities like Chennai, Mexico City and Lusaka.
The project remains one of Hüttner's most well known to date.
It has been shown in museums in the US, Spain Poland, Romania, Austria, China and Sweden.

In 2004 he developed the performative aspects in the above-mentioned project and tied it back to a research about the limits of reality and documentary photography.
He developed a series of photographs where he created shrines of commemoration in busy street corners of urban centres around the world.
These impromptu sculptures suggested that an accident or act of violence had been committed in that specific place (while in fact they were fabricated by the artist).
The work provoked complex discussions about differences and similarities between documentary traditions and the fictional.
This investigation into the very fabric of reality has moved to the forefront in the artist's mature work about impermanence and change.
In the catalogue text to his 2006 exhibition Xiao Yao You that displayed a large body of the work at the Guangdong Museum of Art in Guangzhou the curator, Zhang Wei, writes:
"Ceaseless movement is not a way of gaining ever more exotic knowledge of the world; it is rather a way of cleaning out and rediscovering the self.
This is what I see in Per’s work.
When I face his images, the reality presented in them seems less a true physical reality than an invisible psychological one.
I see a negotiation and dialogue between the artist’s inner and outer worlds.
In this psychological landscape, he describes his worries, his pursuit of human sentiment, and his insistent rejection of a styliz
Hüttner's work investigates impermanence as a global principle, especially how ideas of permanence and purity are used to perpetuate social, political and economical structures and how that influences human communication and interaction. The work often deals with transformation, change or various forms of transgressions of boundaries or borders. The artist is inspired by French philosopher Gilles Deleuze and particularly interested in how the relationship between larger political, economical and social structures affect the individual and vice versa. His work dialogues with the history of performance and explores the genre in innovative ways by provoking the curiosity and imagination of the visitor as well as by reflecting on notions about time, knowledge and the human body.
In the late 1980s and 1990s much of Hüttner's installations used computers, video and other new media. He was one of the first artists to create installations that used computers as a sculptural element and at the same time allowing them to present vast and complex information. The artist also used contemporary medical science to develop work based on research on the human brain at the Pitt Rivers Museum in Oxford, England - looking at how the brain remains in a constant state of change and regeneration. He also created exhibitions, publications and lectures with biochemist Elias Arnér that dealt with the relationship between art, science and the human body in Stockholm. In Begrepp - En Samling (Concepts a Collection) they brought together artists and scientists to dialogue about metaphysical questions.
In the late 1990s Hüttner took his interdiscplinary experiences and implemented these into a series of exhibitions investigating the relationship between the art object and the exhibition. In 2001 he co-curated an exhibition at Nylon with Goshka Macuga and Gavin Wade. Other noteworthy exhibitions that dealt with these issues and that engaged the audience in continuously reshaping the exhibition include: I am a Curator at Chisenhale Gallery in London, Repetitive Time at The Art Museum in Gothenburg and Participate? at CEAC in Xiamen, China and at Basekamp in Philadelphia.
Parallel to this activity Hüttner created a photography project entitled "Jogging in Exotic Cities" where the artist went jogging repeatedly in far away cities that remain exotic to a western audience. In the photographs we see the artist dressed in white clothes as he makes his way through bustling cities like Chennai, Mexico City and Lusaka. The project remains one of Hüttner's most well known to date. It has been shown in museums in the US, Spain Poland, Romania, Austria, China and Sweden.
In 2004 he developed the performative aspects in the above-mentioned project and tied it back to a research about the limits of reality and documentary photography. He developed a series of photographs where he created shrines of commemoration in busy street corners of urban centres around the world. These impromptu sculptures suggested that an accident or act of violence had been committed in that specific place (while in fact they were fabricated by the artist). The work provoked complex discussions about differences and similarities between documentary traditions and the fictional. This investigation into the very fabric of reality has moved to the forefront in the artist's mature work about impermanence and change. In the catalogue text to his 2006 exhibition Xiao Yao You that displayed a large body of the work at the Guangdong Museum of Art in Guangzhou the curator, Zhang Wei, writes:
"Ceaseless movement is not a way of gaining ever more exotic knowledge of the world; it is rather a way of cleaning out and rediscovering the self. This is what I see in Per’s work. When I face his images, the reality presented in them seems less a true physical reality than an invisible psychological one. I see a negotiation and dialogue between the artist’s inner and outer worlds. In this psychological landscape, he describes his worries, his pursuit of human sentiment, and his insistent rejection of a styliz
Per Hüttner