CONCEPTUALISM REHASHED, a profile of artist Rhea Myers, for Outland.art.

THE MAP IS THE TERRITORY, about Mathcastles by Terraform Studios, for Outland.art.

EXCLUSIVITY FOR EVERYONE, a review for Outland.art of Jonathan Monaghan’s Move the Way You Want (2022), at the Phillips Collection in Washington, D.C.

The Invisible Metaverse, for Zora Zine, is about Facebook’s attempt to build the unnoticed infrastructure of the next internet.

An essay about Hito Steyerl and The Question of Funding at Documenta 15, THE QUESTION OF RAGEQUITTING.

A piece for Outland called THE TROUBLE WITH DALL-E, five reflections on artists using AI image generators

I wrote a piece for Outland about NFT projects where I coined the term “ectogame.”

BEHOLD THE ROCK, an essay for Outland about NFTs that depict rocks.

I wrote a piece for Outland about the similarities between CowParade and NFT PFP projects.

PAK’S POLITICS on the political implications of blockchain art, for Outland.

CURATION UNDER CONSTRAINT on the promise and pitfalls of curating NFTs, for Outland.

In 2021 I wrote about the crypto art boom for Artforum.

At the end of each year I used to write about the best artworks and exhibitions I saw that year. Here’s 2015, 2016, 2017, 2018, 2019, and 2020 (part 1, part 2).

In 2020 the COVID-19 pandemic shut down ArtPrize. I reflected on how that happened and what it means for the future of the organization in a piece called Is ArtPrize Over?

In 2018 I completed my masters thesis by writing Collapse and Recovery: Failure as Curatorial Strategy in dOCUMENTA (13).

In 2016 I wrote a series for Michigan Quarterly Review called Lolo the Donkey and the Avant-Garde That Never Was: Part 1, Part 2, Part 3.

I wrote a review of Carson Davis Brown’s photographs called Anti-Retail Therapy for MN Artists in 2014.

For MN Artists I wrote a history of Cabin Time, a nomadic artist residency in 2013.

(Larger writing archive coming soon.)

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