2022 | Re-Thinking Scale and Measurement at the SculptureCenter | OCULA
2021 | BRIClab Essays: In Defense of Domesticity, Monotony, and Interiority | BRIC
2021 | Portrait on Shu Lea Cheang: Viral Love | Spike Art Magazine
2020 | Between Technology and the Human Flesh — A Review of Tishan Hsu: Liquid Circuit | Cobo Social
2020 | On Liu Ye's Uncritical Reproductions | OCULA
2020 | How to Stay Connected During a Pandemic | Cobo Social
2019 | Docile, Mutating and Resistant Bodies | artasiapacific
2019 | Whitney Biennial 2019: Between Resistance and Complicity | OCULA
2019 | NIC Kay | PERFORMA Magazine
2019 | Klara Lidén | PERFORMA Magazine
2019 | Net Art's Archival Poetics at the New Museum | OCULA
2019 | Is AI Rendered Portraiture Actually Timeless? | Cobo Social
2018 | Zhang Xiaogang and the Different Shapes of Class Ideology | frieze
2018 | Negotiating Gender, Labor, and Authorship | Brooklyn Rail
2018 | Asia Contemporary Art Week: Diary #4: 3–9 October 2018 | OCULA
2018 | Asia Contemporary Art Week: Diary #5: 11–17 October 2018 | OCULA
2018 | Guggenheim Museum: One Hand Clapping | LEAP
2018 | Decades in the Making: Interview with Shu Lea Cheang | artasiapacific
2018 | Mel Chin: What Does It Take to be Unmoored | Cobo Social
2018 | Ian Gouldstone: Exploring the Lifecycle of Digital Objects | Cobo Social
2017 | The Many Faces Made from Chelsea Manning’s DNA | Hyperallergic
2017 | Art and China after 1989: Theater of the World | Brooklyn Rail
2017 | Learning About Tactics of Resistance Through Southeast Asian Art | Hyperallergic
2017 | Joan Jonas: Deconstructing the Medium | LEAP
2017 | Ian Cheng – Between Human and Non-Human | Cobo Social
2017 | Shanghai Hit List | Ran Dian
2017 | Light, Memories, and Fleetingness: Apichatpong Weerasethakul at ShanghART | Cultbytes
2017 | Can Archives be Performed? Su Yu-Hsien and Cici Wu Respond in Two New Works | Cultbytes
2016 | Edging Closer…But Not Quite There: Pipilotti Rist at the New Museum | WHITEHOT MAGAZINE