2026
Performative Power: 'Projections Onto the East' at Schinkel Pavillon and n.b.k.
(ZH) "Time in Focus."
2024
(ZH) Reexamining "minority": review of Minor China: Method, Materialisms, and the Aesthetic by Hentyle Yapp.
"Distance of Ambivalence" in Persona Performance: How Tseng Kwong Chi Appropriates the Mao Suit.
2023
(ZH) "Personal: A New Form of Documentary Photography": murmurs of the site.
2022
(ZH) When Documenta moves into a factory—the "adaptation" and "resistance" of artists' collectives at Hübner Areal.
"Atlas of Affinities: Vol. 1, The Far-Near" at HUA International, Berlin.
Metonyms of Power: Pope.L at Schinkel Pavillon.
(ZH) Gazing at trauma, rediscussing repair: the 12th Berlin Biennale reveals colonial woes of history and environment.
(ZH) Reconsidering repair as a concept: how does the art world face trauma?
(ZH) "Jinyun Quarries—The Quarry as Stage: From Economic Exploitation to Ecological Reuse."
Two Comparative Studies: Repositioning the Work of Antoni Starczewski.
2021
(ZH) "The Cold and the Cool: Painting from the USA and USSR 1960–1990."
(ZH) "Ecologies and Politics of the Living."
(ZH) Cross-dressing performance and fan interactions: the adaptation of Awakening from Dream of the Red Chamber.
LEAP
(ZH) He started a "Wanwu Council" at the Gropius Bau to observe the political life of plants.
(ZH) From cosmopolitics to techno-shamanism: 10 exhibitions that mark the 100th anniversary of Beuys's birth.
2020
Robert Adams. In Material Meanings: Selections from the Constance R. Caplan Collection.
Political Art for an Uneasy Time: 'John Heartfield – Photography plus Dynamite' at Akademie der Künste.
(ZH) Edward Hopper, empathy from history.
Maud Lavin, Yang Ling, and Zhao Jing Jamie, eds. 2017. Boy's Love, Cosplay, and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan. HKUP.
Hygiene and Social Life in 'Body. Gaze. Power. A Cultural History of the Bath' at Staatliche Kunsthalle Baden-Baden.
Over-Determining the Artist: 'Love, Ren Hang' at C/O Berlin.
2019
Malleable Records: Eleanor Antin//Art Institute of Chicago.