I wrote this godawful thesis. I played bad cop for a 'sustainable living festival' at a Swedish Osho commune. I made this lexicon for Paul Legault’s “What the Translator has to do,” in Triple Canopy’s book Corrected Slogans. I performed an annotated transcription of this video with Paul Legault at “Don’t Stop: Neophilia, Niche War, Expert Boxes, The Superbody, and Networking the Middle Class,” at the New Museum. I became an associate editor at Triple Canopy. I became an assistant editor at Art in America. Becca Abbe made me this website. Thanks Becca! Guggenheim Abu Dhabi seems pretty fucked, so I talked to G.U.L.F. Rashaad Newsome spoke to me about vogue flaneurs and Kinects. I did this interview about "Messages and Means," a retrospective of Muriel Cooper's work at MIT. I coordinated a bunch of web interviews in conjunction with Art in America's April issue on corporate aesthetics. Here's mine with Aleksandra Mir about her 2003 archive-as-book Corporate Mentality. I also interviewed Dora Budor for that series. Heidi Bucher the god. Metahaven and Independent Diplomat explained their A.i.A. cover about Western Sahara to me. I left Art in America. I organized Period Styles, a Triple Canopy panel examining "how aesthetic movements, technological shifts, social networks, and popular sentiments come together in the creation of dominant styles in certain places and at certain times," with Eric Hu, Lisa Naftolin, Susan Sellers, and William S. Smith. In Mexico City with Triple Canopy for Universal Time (Tiempo Universal), a seminar on publication as a means of producing and distributing knowledge. Picked Artie Vierkant's show at Untitled for Artforum. I organized and moderated "Some Minor Effects of Gravity," a Triple Canopy event with Rosa Aiello and Kari Rittenbach examining how animation acts as a technique and as a state that may be suddenly and surprisingly assumed by seemingly inanimate things. I talked with Adam Greenfield about weaponized data streams and not being able to buy toilet paper for It Speaks of Others, an issue of Triple Canopy devoted to objects and objectivity. Timothy Leonido and I started (☝ ՞ਊ ՞)☝ (aka (╬⓪益⓪), (☉౪ ⊙), or ʕʘ‿ʘʔ ), a monthly reading/performance/whatever series at Topos Bookstore. I wrote a weird essay about whiteness, cuteness, and art school (?) for the inaugural issue of Talk. Paul Chan is a trap. Maria Petschnig made voyeurism tedious for me and that's ok. I reviewed Yuji Agematsu's show at Real Fine Arts for Frieze. I talked with anthropologist Cori Hayden about biopiracy, pharmaceutical patent law, and Dr. Simi for Pointing Machines, an issue devoted to the consideration of contemporary and historical modes of reproduction. I wrote about the hyperactive adult (leisure) lifestyle of the Young-Old and the doublespeak of post-work for The Nation. Also wrote up this Wu Tsang show for Frieze. I have more problems and qualms than I wrote about here but Martin Wong's show was great. I edited Common Practice New York's Near Contact, featuring essays from David Joselit and Amy Lien & Enzo Camacho. I wrote about Mike Silver's minimalist sculptural sensibility and maximalist obsession with self-organizing complexity (and masonry robots) for Metropolis. I didn't get it with Rhizome and Seven on Seven. I wrote about sports—Jon Jones, my addiction to MMA websites, Joe Rogan's resemblance to a screaming human thumb—for N+1. This fall I'll be joining Princeton's German Department as a graduate student. I'm a senior editor now at Triple Canopy. I introduced Children Who Won't Die. Man, I didn't know what I wanted from the collected writings of Donald Judd in 2017 (but I wrote about it anyways for Leap's February issue). I TA'd Keith Wailoo's course "Race, Drugs, and Drug Policy in America." I put together and moderated "After the Villages," an event on how wildly old we're getting, with Deane Simpson and Christian González-Rivera. If you see the December 2017 LARB Quarterly Journal in the wild, you can read my essay about Isamu Noguchi, Japanese-American internment, and the failures of a particular sort of multi-racial rhetoric. Or just email me for the PDF. I left Princeton. Puzzled over this show and Arakawa and Gins's legacy for Art in America. Writing this was strange—I first met Zhao Gang when I was like 11 years old—but here's my profile of Zhao in light of his show at Long March. I wrote part of the introduction for Triple Canopy's issue on resentment. Mostly the complaining about New York stuff. I talked with John Keene for Bookforum, and made a terrible pun. Very happy to be an inaugural UNDO Fellow at UnionDocs, as I get to talk to James N. Kienitz Wilkins for a year about shape shifting and appropriation. I ran a seminar on the endgame of appropriation at DocLisboa with James. I co-wrote a narrative about fictional Chinese people and colonial America and it's the basis of a multimedia installation at the RISD Museum as part of Triple Canopy's "Can I Leave You?" I wrote about automation, "worlding," and lurking streaming services for the January issue of Art in America. I wrote about the gift/grift of the Belt Road Initiative, the new American hawkdom, and Hillary's omens about global China for The Baffler. I wrote a letter over the summer to Peter Liang and it's in this book from Paper Monument. What do you do when you get $20,000 from UnionDocs (and the Ford Foundation) to think about appropriation? You write "The Most Annoying Thing." I have an essay about the early days of the pandemic, anti-Asian violence, and the Yellow Peril Supports Black Power conundrum in issue 39 of n+1. I organized And Besides, It's True, a Triple Canopy event about disinformation and rumor and you can read an edited transcript of the conversation with Steve Macfarlane, Paige K. B., and Tiffany Sia here. I wrote about Potemkin villages, Wisconn Valley, and the Clintons in Haiti for the introduction to Unknown States, an issue of Triple Canopy considering how fictions give rise to nations and nationalities. You can read my essay on Andrew Yang, Sinopessimism, and the misery of being a "born-and-bred" New Yorker in this summer's print issue of The Baffler, or online here. The Paris Review let me interview Atticus Lish about his novel The War for Gloria (and Jake Paul vs. Tyron Woodley). I was possessed by a hallucination in which 9/11 is celebrated with celebrity boxing and I am related to the Trumps in this piece on Triller Fight Club Legends II for n+1's website. It was an Editors' Pick for Longreads. I reviewed The Loneliest Americans for The Baffler, because every time a Gen X Korean American writes a book about being Asian and having a half-white kid a "MSG" signal appears in the evening sky.