Essays

  • “Sculpture’s Artificial Intelligence: Electrotyping, Photography, and Photo-Sculpture” in Solid Pictures: Photosculpture and the Making of Modern Likeness, ed. Patrick Crowley (Stanford: Cantor Arts Center, 2026), 26–35.

  • “‘Like Specters from the Past’: Erin’s Shirreff’s Medium Historicity,” in Erin Shirreff, ed. Taylor Walsh (New York: Gregory R. Miller & Co., 2026), 6−19.

  • “The Consequences of Things,” in Medardo Rosso, ed. Heike Eipeldauer (Cologne and Vienna: Verlag der Buchhandlung Walther und Franz König; Museum moderner Kunst Stiftung Ludwig, 2024), 64−78.

  • “Sculpture in an Age of Mass Reproduction,” Future Bodies from a Recent Past: Sculpture, Technology, and the Body since the 1950s (Munich: Museum Brandhorst, 2022), 195–202.

  • “A Withdrawal from Appearance: George Grosz and Kurt Schwitters,” in Private Passion, Civic Spirit: Robert Gore Rifkind and German Expressionism, eds. Stephanie Barron and Timothy O. Benson (Los Angeles: Los Angeles County Museum of Art, 2021), 72–79.

  • “Kurt Schwitters: Systemschrift,” in Engineer, Agitator, Constructor: The Artist Reinvented, 1918–1939, eds. Jodi Hauptman and Adrian Sudhalter (New York: The Museum of Modern Art, 2020), 208–13.

  • “Hall of Mirrors,” in Günther Förg: A Fragile Beauty, ed. Gavin Delahunty (Dallas and Amsterdam: Dallas Museum of Art/Stedelijk Museum, 2018), 84–91.

  •  “The Art History of Intensive Intentions: Der Hang zum Gesamtkunstwerk,” in Harald Szeemann: The Kingdom of Obsessions, eds. Glenn Phillips and Philipp Kaiser (Los Angeles: Hammer Museum and Getty Research Institute, 2018), 182–99.

    [“Eine Kunstgeschichte intensiver Intentionen,” in Harald Szeemann. Museum der Obsessionen (Zurich: Scheidegger & Spiess, 2018), 183–200.]

  • “The Trace of Transfer: Displacement on Paper” in Artists in Exile: Expressions of Loss and Hope, ed. Frauke Josenhans (New Haven: Yale University Art Gallery, 2017), 128–41.

  • “Corollary Happenings: On Frederick Kielser’s Galaxies,” in Frederick Kiesler: Life Visions, eds. Dieter Bogner, Maria Lind, and Bärbel Vischer (Vienna: MAK Österreichisches Museum für angewandte Kunst/Gegenwartskunst, 2016), 166–171.

  • “Still Lifes and Commodities,” in New Objectivity: Modern German Art in the Weimar Republic, 1919–1933, eds. Stephanie Barron and Sabine Eckmann (Los Angeles: Los Angeles County Museum of Art, 2015), 228–41.

  • “Togetherness in Exile: Kurt Schwitters’ English Sculptures,” in Schwitters in Britain, eds. Emma Chambers and Karin Orchard (London: Tate Britain, 2013), 42–55.

    [German translation, “Miteinander im Exil,” Schwitters in Britain (Ostfildern: Hatje-Cantz, 2013), 42–55.]