Review
On the Other Side of the Membrane: Osmosis at Flohaus Gallery @flohaus_gallery . By Xumeng Zhang @xumeng_z4869
In this review, Xumeng Zhang reflects on how Osmosis, curated by Luman Jiang and Jinyi Xu and presented by Symora Art at Flohaus Gallery, treats the membrane not as a barrier to be overcome but as a condition through which experience is inevitably filtered. Moving across paper, painting, photography, and aluminum-mounted images by Tongtong Guo, Kyung Kim @kyung__kim , Yu Ruo-Jie @yuruojie , Bingyi Zhang, Joy Li @joy_li__ , and Xingze Li @xing.ze , the review considers how memory, sensation, intimacy, and instability move quietly across surfaces before they are named or understood. Drawing from the biological logic of concentration gradients and perceptual thresholds, the writing argues that what we experience as calm may only be an unbroken surface, and that osmosis is always completed before it is consciously recognized.
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Young
Stretch the Body: A Conversation with Ziyun Yma Ma. @nuagergen
In this conversation, Ziyun Yma Ma reflects on the body as a site where senses, empathy, and trust are born, and as a medium that carries weight differently across performance art, modeling, and socially engaged practice. Moving between her ongoing research with female Chinese immigrant massage workers in Flushing, her earlier encounters with Shamate aesthetics and high fashion, and her broader thinking on migration and aesthetic judgment, the exchange considers how the body is shaped by labor, language, class, and survival, and how it can be returned to as a site of resistance, care, and self-recognition. The conversation closes on her wish to age with plants and to remain, for now, an explorer.
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Young
From Overfitting to Distributed Authorship: Authorship in the Context of Generative AI Art. By He Li @taniraliii
In this article, He Li examines how authorship in generative AI art is shifting from the position of a single creator to a layered form of practice distributed across data, selection, correction, curation, and institutional framing. Moving from Marcel Duchamp’s Fountain to Anna Ridler’s self-constructed datasets and the open systems of public platforms such as Midjourney and Jimeng, the essay uses “overfitting” as a critical metaphor for how AI-generated images remain tied to training data, platform aesthetics, and the recognizable visual languages of the art system. Rather than asking whether AI replaces the author, the writing reframes the question around how authorship is jointly produced by data, technology, labor, and institutions.
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Review
A Disrupted Logic of Recognition: After the Face at FLOHAUS Gallery. By Yihan Yan @yihan_jennifer_yan
In this review, Yihan Yan examines how After the Face, curated by Shuhan Zhang, unsettles the face as a stable site of recognition. Moving through paintings and photographs by Hongyu Zhang, Aubrey LaDuke @aubrey.laduke , Wendy Wei @wendywei.art , and Weican Wang @cccan000 , the review considers how brushwork, repetition, symbolic distribution, and environmental layering operate as an active visual system in which legibility is progressively weakened. Rather than treating the face as a neutral vehicle of representation, the exhibition transforms viewing into a process of hesitation, drift, and sustained uncertainty, where emotion arrives before judgment and to be seen no longer means to be known.
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Young
You May Stay. Maybe.: Reading Devon Pin-Yu Chen‘s @devonpinyuchen The Dog Is Busy Having Hotel Breakfast. By Shuhan Zhang @hiirebecca_a
In this piece, Shuhan Zhang considers how Devon Pin-Yu Chen treats the hotel not as a neutral site of leisure but as a coded structure of permission, care, and exclusion. Across ceramic sculptures of dogs, cats, and sealed everyday objects, the writing follows a quiet displacement of the familiar, where bodies hover between guest and intruder, accommodation and refusal. Extending into references to Ghost Month, the review traces a continuum between institutionalized comfort and figures that exist yet cannot be fed, and shows how belonging emerges as something continually produced and undone.
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Interviews
It‘s Me, But Not Quite: A Conversation with Judy Chung. @judychung_
In this conversation, Judy Chung reflects on tension, identity, and the soft power of the cute as forces that coexist within her artistic practice. Moving between personal narrative and constructed imagery, the exchange considers how opposing elements such as cuteness and unease, control and instability, operate as both aesthetic strategy and lived experience. Drawing from her recent solo exhibition Cafeteria at RAINRAIN, the discussion addresses cultural displacement, fragmented subjectivity, and the recurring characters that function as extensions of the self, alongside her approach to creating works that remain visually accessible while sustaining deeper ambiguity.
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Interviews
Structures, Practice, and Exhibition-Making: A Conversation with Phil Zheng Cai. @phil.z.cai
In this conversation, Phil Zheng Cai reflects on curatorial practice, commercial structures, and independent research as positions that overlap, diverge, and inform one another within the contemporary art system. Moving between gallery work, exhibition-making, and systemic critique, the exchange considers how ideas develop into exhibitions, how conditions and constraints shape curatorial decisions, and what it means to sustain a long-term direction amid New York‘s accelerating art ecosystem.
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Young
Losing Ghosts: When Memory Refuses to Disappear, written by Yihan Yan. @yihan_jennifer_yan
Beginning with the semantic ambiguity of Youling (幽灵), this text moves through the group exhibition Losing Ghosts, curated by Luman Jiang, Xinying Wang, Shuhan Zhang, and Yvonne Yitian Xu and organized by CHINCHINART and A&B Lab. Across rice arrangements, painted indeterminacies, shifting boundaries of identity, and cinematic residues, the exhibition treats the ghost as an experiential structure — asking what it means when certain experiences never fully leave, and whether we remember them or are held in place by them.
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Reviews
Ecology of Desire: Toward an Aesthetic of Recursive Intelligence, written by Weifan Mo. @weifan__m
Through Agnieszka Kurant’s solo exhibition Recursion at Marian Goodman Gallery, the text traces how materiality — copper crystals, mineral pigments, aquariums, pulverized objects — becomes a site for pressing out the aesthetic silhouette of recursion. Moving between human cognition and systemic feedback, language and evolutionary history, desire and its mineral traces, Kurant‘s work stages an ecology of intellection where the human-AI entanglement circulates as a quietly persistent force.
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Reviews
No Solid Ground: CFGNY at Amant, written by Ariel He Yanru. @arielllhhheee
Through CFGNY‘s exhibition Puddles into Pond at Amant, the text examines how vagueness operates not as stylistic play but as a structural condition. Moving between collective authorship and systemic co-dependency, ceramic landscapes and water clocks, commodity and art object, the work insists on the networks of labor and maintenance that sustain systems of identity, legibility, and survival under contemporary demands for coherence.
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Interviews
A Conversation on Cultural Work, Identity, and Visibility.
On March 21, CHINCHINART, ArtEchive, and Symora Art hosted a panel in New York featuring Tina Wang @tina_wangxt , Pin-Hsuan Tsang @pinhsuantseng , and Jiayin Chen @curatingthings . Across two parts, the conversation moves through funding, identity, storytelling, pedagogy, and technology — asking how cultural labor is shaped, sustained, and made visible within the contemporary art ecosystem, and what meaningful support for women in the field might actually require.
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Reviews
Delving into the depths of “painterly conception,” written by Shang Hui.
Through Ma Jingru’s paintings, the text reflects on what still makes painting distinct in an age of digital images: the meeting of hand, eye, and mind. Moving between Chinese freehand aesthetics and the language of oil painting, her works open a vivid space between tradition and contemporary vision.
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