其中2015年在澳⼤利亚新旧艺术博物馆举办的MONA FOMA艺术节的上，卫报报道称：“如果将砸碎250个锤⼦这⼀表演项⽬看作是简单的概念表达显然不够，厉槟源的作品“死了都要爱”超越了形式本⾝，在场的观众激动地为他的每⼀击⽽雀跃，尤其当他倒在混凝⼟基座上时，将现场⽓氛推向⾼潮。在⼀个半⼩时饱含汗⽔和泪⽔的表演中（尤其是在⾏为表演中，他吻锤⼦的动作令⼈动容。）艺术家将深度的思考和⾼深莫测的殉道精神融⼊适当的绝望中，引发观众的深思。⼀个旁观者说：’这是⼀个职业艺术家关于⽣活的声明。’另⼀个躲在⼤⼈⾐⾓后的孩⼦怯怯说道：’这是我见过的最美好的事’。这声⾳萦绕不散……”

As a representative work of Li Binyuan's early performance art, this work has been widely concerned and invited by art museums at home and abroad. Performed in China, Germany, Britain, Australia, South Korea, and other countries and cities. Among them, at the MONA FOMA Art Festival held in the Museum of New and Old Art in Australia in 2015, the Guardian reported: 
In performance art terms, “man breaks 250 hammers” seemed a straightforward enough concept. But Li Binyuan’s Deathless Love transcended the form. Performance art became spectator sport as the crowd cheered each successive smash, lifting Li’s flagging spirits whenever he collapsed onto the concrete plinth. In an hour and a half’s worth of sweat and tears (and, at one stage, a kiss for the hammer in his hand), the artist’s inscrutable dedication occasionally dissolved into desperation, leading viewers to question the point of it all. “It’s about destruction,” one bystander said; “It’s a statement about the life of the professional artist,” offered another. Children gripped their parents’ sleeves with concern. “This is the best thing I’ve ever seen,” echoed around the shed.  （https://www.theguardian.com/music/2015/jan/20/mofo-festival-2015-the- hits-and-misses）