For Hyperallergic, I wrote about the “Grandmother of the New Wave,” and what she meant to cinema.
For ArtAsiaPacific, I reviewed “Invisible Force,” a recent exhibition held at Simon Lee Gallery on conceptual artist Keiji Uematsu.
For Senses of Cinema, I covered the 16th “To Save and Project” program at MoMA, which featured such gems as Fragment of an Empire (1929) and A Day Off (1968).
For Artforum, I wrote a few words on Christina Forrer’s tense tapestries in a recent exhibition at Luhring Augustine.
For Dazed, I profiled artist Pixy Liao about her funny, gender-subverting photos, as well as her first installation piece in her “Evil Women Cult” series.
For The Brooklyn Rail, I reviewed “Adrift,” a group show at Chambers Fine Art showcasing a quartet of young Chinese artists: Cao Yi, Li Qing, Yi Xin Tong, and Zhao Zhao.
For ArtAsiaPacific, I reviewed “Banu Cennetoğlu,” a solo exhibition dedicated to the Turkish artist held at Queens’ SculptureCenter.
For Hyperallergic, I reviewed Black Mother, a rich non-fiction work in which Khalik Allah grows in leaps and bounds as an artist.
For Kinoscope, I reviewed Hong’s latest work, “Hotel by the Work,” which sees him try out a few new things with mixed results.
For Hyperallergic, I reviewed Minute Bodies: The Minute World of F. Percy Smith (2016), the first film helmed by Tindersticks frontman Stuart A. Staples.