In Alphabetical Order 按英文字母顺序排列:

1985: Absence as Contemporaneity (IFA Lecture 3)

“A Case of Being ‘Contemporary’ — Conditions, Spheres, and Narratives of Contemporary Chinese Art,” in Terry Smith, Okwui Enwezor, and Nancy Condee, eds, Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity (Durham: Duke University Press, 2008), 290-306.

“A Chinese Dream by Wang Jin,” Public Culture 12.1 (2000): 74-92.

“A Ghost Rebellion: Xu Bing and his Nonsense Writing,” Public Culture 13(1994): 411-18.

“A ‘Domestic Turn”: Chinese Experimental Art in the 1990s,” Yishu 1.3 (2002), 3-17.

“About Between Past and Future: New Photography and Video from China,” co-author, with Christopher Philips, Between Past and Future: New Chinese Photography and Video from China (New York and Chicago: International Center of Photography and Smart Museum of Art, 2004).

“Between Past and Future: A Short History of Contemporary Chinese Photography,” in Wu Hung and Christopher, Between Past and Future: New Photography and Video from China (New York and Chicago: International Center of Photography and Smart Museum of Art, 2004), 11-36.

“Conclusion,” in Contemporary Chinese Art: A History, idem. (Thames & Hudson, 2014), 431-434.

“Contemporaneity in Experimental Chinese Photography,” in Tina Yapelli, ed., Zooming into Focus: Contemporary Chinese Photography and Video from the Haudenschild Collection (San Diego: University Art Gallery, San Diego State University, 2003), 15-17.

Confronting History in the Contemporary An Interview with Wu Hung, Wang Huangsheng and Feng Boyi, Orientations Volume 33 Number 9 (2002): 68-71.

“Contesting Global/Local: Chinese Experimental Art in the 1990s,” Orientations 33.9 (November, 2002): 62-67.

“‘Experimental Exhibitions’ of the 1990s,” in Reinterpretation: A Decade of Experimental Chinese Art, 1990-2000 (Guangzhou: Guangdong Museum of Art, 2002), 84-98 [Chinese version]

“‘Experimental Exhibitions’ of the 1990s,” in Reinterpretation: A Decade of Experimental Chinese Art, 1990-2000 (Guangzhou: Guangdong Museum of Art, 2002), 83-97.[English version]

“From “Modern” to “Contemporary”: A Case in Post-Cutural Revolutionary Art,” Contemporarneity 1 (2011): 36-40.

“‘Hong Kong . 1997’ — T-shirt Designs by Zhang Hongtu,” Public Culture 9 (1997): 417-421.

“Hong Kong Clock — Public Time-Telling and Political Time/Space,” Public Culture 9 (1997):329-354.

“Intersection: An Exhibition of Contemporary Chinese Photography and Oil Painting,” in Wu Hung, Intersection: Contemporary Oil Painting and Photography (New York: Chambers Fine Arts, 2004), 6-17.

“Internalizing Displacement,” in Wu Hung et al., Displacement: The Three Gorges Dam and Contemporary Chinese Art (Chicago: Smart Museum of Art, 2008): 9-32.

“Introduction” in First Encounter: Lu Shengzhong, (New York: Chambers Fine Art. 2001), 2-3

“Introduction: Reading Early Photographs of China,” in Brush and Shutter: Early Photography in China, ed. J. W. Cody and F. Terpak (Los Angeles: Getty Research Institute, 2011), 1-18.

“Inventing a ‘Chinese’ Portrait Style in Early Photography,” in Brush and Shutter: Early Photography in China, ed. J. W. Cody and F. Terpak (Los Angeles: Getty Research Institute, 2011), 69-90.

“Mapping Contemporaneity in Asia-Pacific Art,” in 2002 Asia-Pacific Triennial (Queensland, Australia), 18-27

“Monumentality and Anti-Monumentality in Wenda Gu’s Forest of Stone Steles – Retranslation and Rewriting of Tang Poetry,” in Huang Zhuang et al., Translating Visuality – Gu Wenda: Forst of Stone Steles, Retranslation & Rewriting of Tang Poetry (Guangzhou: Lingnan meishu chubanshe, 2005), 295-300.

“Monumentality and Anti-Monumentality in Wenda Gu’s Forest of Stone Steles – Retranslation and Rewriting of Tang Poetry,” Yishu (2005): 51-58.

Neizai de shikong (Interior time/space),” in Zeng Hao (Shenzhen: He Xiangning Art Museum, 2005), 20-23.

“Negotiating Beauty in Contemporary Art – An Exhibition” (English and German), in Uber Schoneheit (About beauty), (Berlin: Haus der Kulturen der Welt, 2005): 18-39

“Once Again, Painting as Model: Reflections on Cai Guo-qiang’s Gunpowder Painting,” in Cai Guo-Qiang: Fuegos Artificiales Negros on Black Fireworks (Institut Valencia d’Art Modern, 2005), 52-73.

“Once More, Painting from Photos,” in Ackbar Abbas, Chen Danqing: Painting After Tiananmen (Hong Kong: Hong Kong University, 1995).  10-13

“Rong Rong and His Ruin Pictures,” in Rong Rong and His Ruin Pictures (New York: Cambers Art Gallery, 2001): 8-18.

“Ruins as Autogiography: Chinese Photographer Rong Rong,” Persimmon -Asian Literature, Arts, and Culture vol. II, no. 3 (Winter 2002), 36-47.

“Phantasmagoria: Recent Photographs by Miao Xiaochun,” Yishu: Journal of Contemporary Chinese Art (2005), 73-89.

“Preface to Beijing Afloat,” in Beijing Aflot: Beijing-Tokyo Art Projects Opening Exhibition (Beijing: Beijing-Tokyo Art Projects, 2002). 10-14.

“Photographing Deformity: Liu Zheng and His Photographic Series My Countrymen,” Public Culture, vol.13, no.3 (2001): 399-428.

“Reading Mu Xin: An Exile without a Past,” in Art of Mu Xin: Landscape Paintings and Prison Notes (Yale University Art Museum and Smart Museum of Art, University of Chicago),  40-47.

“Ruins, Fragmentation, and the Chinese Modern/Postmodern,” in Gao Minglu, ed., Inside Out: China’s New Art (New York and San Francisco, 1998), 59-66.

Rong Rong’s East Village (New York: Chambers Fine Arts, 2003).

“Spheres of Contemporary Chinese Art,” in Contemporary Chinese Art: A History, idem. (Thames & Hudson, 2014), 10-15.

“‘Shijing’ houxiandai” (“Vernacular” Post-Modern), Dushu 288 (March 2003), 85-90.

“Television in Contemporary Chinese Art,” October 125 (2008): 65-90.

“Tiananmen Square: A Political History of Monuments,” Representations 35 (1991), 84-117.

“The 2000 Shanghai Biennale: The Making of a Historical Event”, Art Asia Pacific 31 (2000): 42-49.

“The Three Gorges Dam and Contemporary Chinese Art,” Orientations 40.1 (January/Febrary 2009), 67-73.

“Three Persistent Individualists,” Art AsiaPacific 37 (2003), 91-93

Transience: Chinese Experimental Art at the End of the Twentieth Century (Chicago: The University of Chicago Press, 2005).

“Tui-Transfiguration: An Experimental Exhibition at Factory 798,” in Huang Rui ed., Beijing 798: Reflections on Art, Architecute and Society in China (Beijing: Timezone 8, 2004): 58-69.

“Variations of Ink: Abstract Paintings of Five Chinese Artists” in idem., (Chamber Fine Arts, New York, 2002).

“’Vernacular’ Post-Modern: The Art of Song Dong and Yin Xiuzhen,” in Song Dong and Yin Xiuzhen: Chopsticks (New York: Chambers Fine Arts, 2002), 9-23

Waste Not: Zhao Xiangyuan and Song Dong (Tokyo: Tokyo Gallery)

“Xu Bing: Dui meiti he shijue jishu de shiyan” (Xu Bing: Experimenting art medium and visual tichniqu), Diancang. Jin meishu (Art & collection. contemporary art) no. 105 (2001): 38-43.

“Yancao jihua” (Tobacco project), Yishu shijie (Art world), no, 172 (2004): 66-67.

“Zhan Wang de yishu shiyan” (Zhan Wang’s artistic experiment), Meishu jie (Artscircle) 3 (2000), 18-27.

“Zhang Dali’s Dialogue: Conversation with a City,” Public Culture 12.3 (2000), 749-68.

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