Paper is not only a vehicle to spread knowledge as pages in a book; it can also document social changes.
Local ceramist, Li Wei Han, first collected paper shoes – effigies to be burnt as offerings – for an exhibition. It was meant to be a comment on consumerism. Ironically, she has since become an avid buyer of these paper shoes. As a designer, she recognizes paper effigies as a traditional folk craft. But as they are replicas of everyday objects, she also appreciates their value as historical records of fashion and culture in Hong Kong.
Simon Go collects pre-war paper packaging, especially that of Chinese medicine. He finds the accompanying information leaflets particularly interesting.
For Lee Shau Ching, paper games and toys such as character cards and dress-up paper dolls bring back fond childhood memories and reflect the popular culture of the time.
紙，除了以書本的形式承傳知識，亦可以不同形式，記錄社會文化的演變。
本地陶藝家李慧嫻於2000年以紙紥祭品作展覽，原意是在展覽中批判消費文化，展覽完結後。李慧嫻自言『自投羅網』，不斷收集紙鞋，至今超過五百對，成為一個不智的消費者。李慧嫻從產品設計的角度去欣賞這種傳統民間工藝，認為紙製品模仿生活用品，藏品無形中紀錄了香港這十二年的潮流文化。
修讀設計出身的吳文正於十五、六年前開始收藏戰前時期的包裝紙盒，尤其鍾情於中成藥紙盒。藥物關乎用者人身安全，必須標榜商譽，吳文正表示不少藥廠以創辦人的肖像作為商標，甚至以家族幾代人的相片為標記，強調是百多年老字號。另外，有藥廠為杜絕膺品，藥品會附有驗真券，以示正貨。
從事零售業的李守政，希望保留本地文化特色，於十年前開始收集舊物，包括大部份基層女孩都擁有過的｢著衫公仔｣、士多常備的｢潛錢｣遊戲，還有伴著他成長的｢公仔紙｣。早期的公仔紙會以中國民間故事為設計藍本，印上｢水滸傳｣、｢八仙過海｣等深入民心的人物；七十年代，就出現｢小露寶｣、｢蒙面超人｣等特攝片人物的｢公仔紙｣。這些兒時玩意，不僅帶來回憶，亦紀錄了民生點滴。
