In October - November 2014 Meineche Hansen had a solo exhibition at Cubitt Gallery, London. INSIDER collected works that "reflect[ed] on self-destruction and mutation".[1][9]
In March–May 2016 gasworks London hosted Meineche Hansen's solo show SECOND SEX WAR.[10] Included in the show was a piece made by Meineche Hansen, Manuela Gernedel, Alan Michael, Georgie Nettell, Oliver Rees, Matthew Richardson, Gili Tal and Lena Tutunjian, called CULTURAL CAPITAL COOPERATIVE OBJECT #1 (2016), which the artists called "an attempt to congeal the group's cultural capital into a cooperatively owned object".[11]
Real Doll Theatre was a solo show at KW, Berlin, in 2018. The show included "collaborative works with filmmaker Therese Henningsen and musicians Asger, and Holger Hartvig, as well as a live set by the London-based Music project Ectopia of Adam Christensen, Jack Brennan and Viki Steiri".[12]
Work by Meineche Hansen was included in the 2019 ArkDes Stockholm iteration of the Cruising Pavilion: Architecture, Gay Sex and Cruising Culture project, which was initiated at the Venice Biennale in 2018.[13]
An Artist's Guide to Stop Being An Artist was installed at SMK/ National Gallery of Denmark, in 2019. The show included the "life-sized ball-jointed figure with orifices that were compatible with oral and vaginal inserts made in silicone, which are sold for current sex robots on the market", Difficult to work with? (2019).[14]
Chisenhale Gallery hosted Meineche Hansen's solo show Welcome to End-Used City, displaying existing and newly-commissioned work in 2019.[2] The exhibition included the participatory installation End-Used City (2019), which participants could control with an Xbox handset, partly inspired by the seventeenth-century frontispiece by Abraham Bosse in Thomas Hobbes's philosophical treatise Leviathan.[15] It included the work Hellmouth (To Madame) (2018), which Flash magazine called a "gendered theological device".[16] Writing in Mousse magazine, India Nielsen notes that Meineche Hansen's work "visualize[s] the invisible, internalized structures of surveillance capitalism, highlighting the slippery trade-off between desiring something and becoming subject to it".[15] The show was highlighted by the 2020 Turner Prize judges for its use of VR and AR.[17]
In October–December 2020 Meineche Hansen's solo show home vs owner was installed at Rodeo gallery, London.[3]