Writing
2020
On Minneapolis’s sanctuary movement The Baffler
2019
Anna Oppermann’s surreal still lifes Art in America
Hilma af Klint’s secret notebooks Frieze
On the capitalist hellscape of a for-profit cancer hospital The Baffler
On the spectacular desert The Baffler
The ethics of James Alan McPherson Los Angeles Review of Books
My everlasting love of Tracey Emin Art Critique
On not getting paid in the art world Art Critique
On Hawaiian modernism Artsy
2018
Grant Wood’s queer midwest Los Angeles Review of Books
Anne Brigmans’s 19th century nude self-portraits Artsy
Virginia Woolf’s pencil Ploughshares
Rachel Z. Arndt and the female quantified self Iowa Review
2017
My life as a butterfly-wrangler The Common
Sarah Gerard’s Florida memoir and the state of post-truth Los Angeles Review of Books
Yuri Herrera’s drug war parable America’s Quarterly
Santiago Gamboa’s global thriller America’s Quarterly
Paul Druecke’s social event archive Artforum.com
2016
Peter Schlesinger, glamour & the sadness of photography Los Angeles Review of Books
Jen P. Harris’s ghost prairie catalogue essay
Matt Siegle’s new American West Temporary Art Review
On slow criticism Temporary Art Review
2015 & older
Rachel Harrison’s selfie-stick sculptures Artforum.com
Mary Simpson’s weird dreams Artforum.com
Casey Tang’s sounds of the early universe Booklyn
Arlene Shechet’s porcelain recasts Big Red & Shiny
The problems with social practice Big Red & Shiny
Sophie Calle Art New England
The clownage of Bruce High Quality Big Red & Shiny
Peter Eudenbach at the Redwood Athenaeum Huffington Post
On space photography Invisible Culture: Electronic Journal of Visual Culture