Book
The Future History of Contemporary Chinese Art (Minneapolis: University of Minnesota Press, 2021).
Podcast interview with the New Books Network available here.
Peer-Reviewed Articles
"Animating the Inanimate: Qiu Anxiong's New Book of Mountains and Seas." 21: Inquiries into Art, History, and the Visual 5, no. 1 (2024).
“Tensile Strength: Threads of resistance in Lin Tianmiao’s art.” positions: asia critique 28, no. 1 (February 2020): 121–144.
“Making and remaking history: Categorizing ‘conceptual art’ in contemporary Chinese art.” Journal of Art Historiography 10 (June 2014): 1–17.
“Art Critics as Middlemen: Navigating state and market in contemporary Chinese art, 1980s–1990s.” Art Journal (Spring 2013): 6–19.
Selected Articles and Essays
“Liang Yuanwei, umustbestrong.” Chinese Art since 1970: M+ Sigg Collection Catalogue (Hong Kong: M+ Museum, 2022). Invited contribution.
“Temporal Disjuncture and Global Space in Qiu Anxiong’s New Book of Mountains and Seas,” MAM Documents (Tokyo: Mori Art Museum, 2015), 162–172 (in Japanese).
“New Audiences, New Energy: Producing and Exhibiting Contemporary Chinese Art in 1993,” Post: Notes on Modern and Contemporary Art around the Globe, post.at.moma.org (MOMA, August 2015). Invited contribution. 
“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.
“Dis/Placement: Yin Xiuzhen’s City Installations.” Yishu 4, no.1 (April 2005): 87–101.
Assisted Publications
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.
Reviews
Review of Sasha Su-Ling Welland, Experimental Beijing: Gender and Globalization in Chinese Contemporary Art (Durham, N.C.: Duke University Press, 2018), Art Bulletin 102, no. 4 (December 2020): 160–163.
“New Narratives of Contemporary Chinese Art.” Critique d’Art: The International Review of Contemporary Art Criticism 44 (July 2015): 28–42.
Review of Meiling Cheng, Beijing Xingwei: Contemporary Chinese time-based art (New York: Seagull Books, 2013), TDR/The Drama Review 59, no. 2 (Summer 2015): 173–175.
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.
Interviews
“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.
Exhibitions Curated at the Bowdoin College Museum of Art
Breakthrough: Work by Contemporary Chinese Women Artists, Fall 2013 (co-curated)
