Assistant Professor of Art History and Asian Studies
103 Visual Arts Center
“Making and remaking history: Categorizing ‘conceptual art’ in contemporary Chinese art.” Journal of Art Historiography10 (June 2014): 1–17.
“Art Critics as Middlemen: Navigating state and market in contemporary Chinese art, 1980s–1990s.” Art Journal (Spring 2013): 6–19.
“China’s Emerging Art Market: Debates on art, criticism, and commodity in the early 1990s.” Negotiating Difference: Contemporary Chinese Art in the Global Context, ed. Juliane Noth et al (VDG Weimar, 2012), 189–198.
“A New Visual Rhetoric: Tang Kaizhi’s Taichi series.” Looking Between the Lines. Beijing: One Moon Gallery, 2007; appears in Chinese translation as “Xin de shijue yuyan: Tang Kaizhi de taiji xilie” in Zhongguo Yishu [Chinese Art] no. 1 (2008) and Dongfang Yishu [Oriental Art] no. 15 (2008).
“Re-reading Contemporary Chinese Art.” Orientations 37, no. 6 (September 2006): 85–89.
“Dis/Placement: Yin Xiuzhen’s City Installations.” Yishu 4, no.1 (April 2005): 87–101.
Wu Hung, ed. Contemporary Chinese Art: Primary Documents. With the assistance of Peggy Wang. New York: Museum of Modern Art, 2010 [Review: The New York Review of Books (April 28, 2011)]
Wu Hung. Shu: Reinventing Books in Contemporary Chinese Art. With the assistance of Peggy Wang. New York: China Institute Gallery, 2006.
“New Narratives of Contemporary Chinese Art.” Critique d’Art: The International Review of Contemporary Art Criticism 44 (Spring 2015) (forthcoming).
Review of Meiling Cheng, Beijing Xingwei: Contemporary Chinese time-based art (New York: Seagull Books, 2013), TDR/The Drama Review (forthcoming).
Review of Julia F. Andrews and Kuiyi Shen, The Art of Modern China (Berkeley: University of California Press, 2012), Journal of Asian Studies 72, no. 3 (August 2013): 682–684.
Review of Hsingyuan Tsao and Roger T. Ames (eds.), Xu Bing and Contemporary Chinese Art (Albany: SUNY Press, 2011), Philosophy East and West 63: 3 (July 2013): 446–448.
“Thread and Bone: An Interview with Lin Tianmiao.” Yishu 11, no. 2 (March/April 2012): 6–19.
“Subversion, Culture Shock, and ‘Women’s Art: An Interview with Lin Tianmiao” n. paradoxa 29 (January 2012): 22–31.
“Miao Xiaochun: Phantasmagoria.” Art Asia Pacific 45 (Summer 2005): 85–86.
Breakthrough: Work by Contemporary Chinese Women Artists, Fall 2013 (co-curated)
“Temporal Perception and Historical References in Contemporary Chinese Art,” (In)Direct Speech.“Chineseness” in Contemporary Art Discourse and Practice, Art Market, Curatorial Practices and Creative Processes, organized by Heidelberg University and University of Lisbon, Portugal, March 17, 2015 (invited).
“Animating Time,” Visual and Material Perspectives on East Asia workshop, University of Chicago, January 9, 2015 (invited)
“Temporal Disjuncture and Global Space in Qiu Anxiong’s New Book of Mountains and Seas,” Trauma and Utopia: Interactions in Post-War and Contemporary Art in Asia symposium jointly organized by Mori Art Museum and Tate Research Centre: Asia-Pacific, Tokyo, Japan, October 9–10, 2014.
“Contemporary Chinese Art from New Wave to New Media,” School of the Museum of Fine Arts, Boston, April 22, 2014 (invited).
Moderator, “Concept and Performance,” Ink Art: Dialogues with Artists symposium, Metropolitan Museum of Art, New York, February 20, 2014 (invited).
“Material Witnesses: Medium and media in contemporary Chinese Art,” College Art Association Annual Meeting, Chicago, Illinois, February 15, 2014.
“Made in China: Symbols and slogans of place in 1990s contemporary Chinese art,” Association of Asian Studies Annual Meeting, San Diego, California, March 23, 2013.
“Urbanization, Mediation, and Globalization in Contemporary Chinese Art,” Excavating the Image: The Birth of RMB City by Cao Fei Symposium, Smith College Museum of Art and Kahn Liberal Arts Institute, January 11, 2013 (invited).
“Politics of Intervention: Tracing the intersections of contemporary art and media in China” Media, Art, and Activism in the Middle East and Asia Lecture Series, Michigan State University, November 29, 2012 (invited).
“Artifice of Art: Advertisements in Contemporary Chinese Art,” Cultures in Contact Lecture Series, Institute for Chinese Studies, The Ohio State University, May 25, 2012 (invited).
“Black and White and Red All Over: Spaces of urban intervention in Beijing Youth Daily’s 1994 Art Interior Design series,” College Art Association Annual Meeting, Los Angeles, California, February 22, 2012.
“Approaching Contemporary Chinese Art,” Scholars’ Day Forum, Museum of Modern Art New York, October 15, 2010 (invited).
“Critical Discourses: Debating the Value of Contemporary Chinese Art in the 1990s,” Negotiating Difference: Contemporary Chinese Art in a Global Context Conference, House of World Cultures, Berlin, Germany, October 24, 2009.
“The Ties that Bind: Contemporary Chinese Artists in the 1990s Global Art System,” Association of Asian Studies Annual Meeting, Chicago, Illinois, March 28, 2009.
“Constructing Market and History: The 1992 Guangzhou Biennial and the Second Documents Exhibition,” College Art Association Annual Meeting, Los Angeles, California, February 27, 2009.
“Exhibiting the Nation: Negotiating Cultural Authority in Multinational, Transnational, and Intranational Exhibitions of Contemporary Chinese Art in the 1990s,” Harvard Project for Asian and International Relations Conference, Tokyo, Japan, August 23, 2005.
Franke Institute for the Humanities Doctoral Fellowship (2009–2010)
Center for East Asian Studies Dissertation Write-up Grant, University of Chicago (2008–2009)
Fulbright-Hays Doctoral Dissertation Research Abroad Fellowship, U.S. Department of Education (2006–2007)
Jacob K. Javits Fellowship, U.S. Department of Education (2003–2006, winter–summer 2008)
Wellesley-Yenching Graduate Fellowship at the National Palace Museum in Taipei (2001–2002)