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@suzanne_mcotter on Trisha Donnelly, @spike_art_magazine (2016)

Interview with Boris Groys on outer space 👽 published in @e_flux

https://www.e-flux.com/journal/136/536828/leaving-the-earth/

Published in @no_ns_en_si_ca_l • Fall 2016 available @smingsmingbooks

… what art is, or can be. Recently you did a reading in London at the Chisenhale Gallery where you said: “Trying to figure out how to write about art is always the question that I’m asking myself—I don’t know if that’s what I’m doing, and right now I find it particularly difficult. … I’m finding it difficult to know what writing is supposed to do right now.” Would you be able to elaborate on that?

[Link to full text in bio]

Published in @no_ns_en_si_ca_l • Fall 2016 available @smingsmingbooks

… what art is, or can be. Recently you did a reading in London at the Chisenhale Gallery where you said: “Trying to figure out how to write about art is always the question that I’m asking myself—I don’t know if that’s what I’m doing, and right now I find it particularly difficult. … I’m finding it difficult to know what writing is supposed to do right now.” Would you be able to elaborate on that?

[Link to full text in bio]

Published in @no_ns_en_si_ca_l • Fall 2016 available @smingsmingbooks

… what art is, or can be. Recently you did a reading in London at the Chisenhale Gallery where you said: “Trying to figure out how to write about art is always the question that I’m asking myself—I don’t know if that’s what I’m doing, and right now I find it particularly difficult. … I’m finding it difficult to know what writing is supposed to do right now.” Would you be able to elaborate on that?

[Link to full text in bio]

Published in @no_ns_en_si_ca_l • Fall 2016 available @smingsmingbooks

… what art is, or can be. Recently you did a reading in London at the Chisenhale Gallery where you said: “Trying to figure out how to write about art is always the question that I’m asking myself—I don’t know if that’s what I’m doing, and right now I find it particularly difficult. … I’m finding it difficult to know what writing is supposed to do right now.” Would you be able to elaborate on that?

[Link to full text in bio]

Published in @no_ns_en_si_ca_l • Fall 2016 available @smingsmingbooks

… what art is, or can be. Recently you did a reading in London at the Chisenhale Gallery where you said: “Trying to figure out how to write about art is always the question that I’m asking myself—I don’t know if that’s what I’m doing, and right now I find it particularly difficult. … I’m finding it difficult to know what writing is supposed to do right now.” Would you be able to elaborate on that?

[Link to full text in bio]

Published in @no_ns_en_si_ca_l • Fall 2016 available @smingsmingbooks

… what art is, or can be. Recently you did a reading in London at the Chisenhale Gallery where you said: “Trying to figure out how to write about art is always the question that I’m asking myself—I don’t know if that’s what I’m doing, and right now I find it particularly difficult. … I’m finding it difficult to know what writing is supposed to do right now.” Would you be able to elaborate on that?

[Link to full text in bio]

Published in @no_ns_en_si_ca_l • Fall 2016 available @smingsmingbooks

… what art is, or can be. Recently you did a reading in London at the Chisenhale Gallery where you said: “Trying to figure out how to write about art is always the question that I’m asking myself—I don’t know if that’s what I’m doing, and right now I find it particularly difficult. … I’m finding it difficult to know what writing is supposed to do right now.” Would you be able to elaborate on that?

[Link to full text in bio]

Published in @no_ns_en_si_ca_l • Fall 2016 available @smingsmingbooks

… what art is, or can be. Recently you did a reading in London at the Chisenhale Gallery where you said: “Trying to figure out how to write about art is always the question that I’m asking myself—I don’t know if that’s what I’m doing, and right now I find it particularly difficult. … I’m finding it difficult to know what writing is supposed to do right now.” Would you be able to elaborate on that?

[Link to full text in bio]

Published in @no_ns_en_si_ca_l • Fall 2016 available @smingsmingbooks

… what art is, or can be. Recently you did a reading in London at the Chisenhale Gallery where you said: “Trying to figure out how to write about art is always the question that I’m asking myself—I don’t know if that’s what I’m doing, and right now I find it particularly difficult. … I’m finding it difficult to know what writing is supposed to do right now.” Would you be able to elaborate on that?

[Link to full text in bio]

Published in @no_ns_en_si_ca_l • Fall 2016 available @smingsmingbooks

… what art is, or can be. Recently you did a reading in London at the Chisenhale Gallery where you said: “Trying to figure out how to write about art is always the question that I’m asking myself—I don’t know if that’s what I’m doing, and right now I find it particularly difficult. … I’m finding it difficult to know what writing is supposed to do right now.” Would you be able to elaborate on that?

[Link to full text in bio]

Alice Wang at The International Studio & Curatorial Program (ISCP), New York
“Windstorm on Saturn, Basalt Columns, MDMA, Serotonin”
January 23 – June 5, 2026
Photos: courtesy of the artist, The International Studio & Curatorial Program (ISCP) and Capsule
@aaaaaalis @capsuleshanghai @iscp_nyc

Alice Wang at The International Studio & Curatorial Program (ISCP), New York
“Windstorm on Saturn, Basalt Columns, MDMA, Serotonin”
January 23 – June 5, 2026
Photos: courtesy of the artist, The International Studio & Curatorial Program (ISCP) and Capsule
@aaaaaalis @capsuleshanghai @iscp_nyc

Alice Wang at The International Studio & Curatorial Program (ISCP), New York
“Windstorm on Saturn, Basalt Columns, MDMA, Serotonin”
January 23 – June 5, 2026
Photos: courtesy of the artist, The International Studio & Curatorial Program (ISCP) and Capsule
@aaaaaalis @capsuleshanghai @iscp_nyc

Alice Wang at The International Studio & Curatorial Program (ISCP), New York
“Windstorm on Saturn, Basalt Columns, MDMA, Serotonin”
January 23 – June 5, 2026
Photos: courtesy of the artist, The International Studio & Curatorial Program (ISCP) and Capsule
@aaaaaalis @capsuleshanghai @iscp_nyc

Alice Wang at The International Studio & Curatorial Program (ISCP), New York
“Windstorm on Saturn, Basalt Columns, MDMA, Serotonin”
January 23 – June 5, 2026
Photos: courtesy of the artist, The International Studio & Curatorial Program (ISCP) and Capsule
@aaaaaalis @capsuleshanghai @iscp_nyc

Alice Wang at The International Studio & Curatorial Program (ISCP), New York
“Windstorm on Saturn, Basalt Columns, MDMA, Serotonin”
January 23 – June 5, 2026
Photos: courtesy of the artist, The International Studio & Curatorial Program (ISCP) and Capsule
@aaaaaalis @capsuleshanghai @iscp_nyc

Excited and honored to be showing with some of my favorite artists!

Palomar
The Renaissance Society @rensoc
curated by Karsten Lund @kwlund

Palomar is a group exhibition about watching the sky, something that appears deceptively simple at first. Featuring twenty-eight artists, it unfolds in two parts, each five weeks long. Some works remain in place while others come and go, this encounter in time acting like a double exposure. Gradually, the familiar act of looking up spills over into a sense of life that is more layered and complex, or even contradictory. It turns out there is a lot at stake in the space above us.

https://renaissancesociety.org/exhibitions/562/palomar-part-1/

Watch the films here:
https://renaissancesociety.org/publishing/955/palomar-online-videos/

•

Excited and honored to be showing with some of my favorite artists!

Palomar
The Renaissance Society @rensoc
curated by Karsten Lund @kwlund

Palomar is a group exhibition about watching the sky, something that appears deceptively simple at first. Featuring twenty-eight artists, it unfolds in two parts, each five weeks long. Some works remain in place while others come and go, this encounter in time acting like a double exposure. Gradually, the familiar act of looking up spills over into a sense of life that is more layered and complex, or even contradictory. It turns out there is a lot at stake in the space above us.

https://renaissancesociety.org/exhibitions/562/palomar-part-1/

Watch the films here:
https://renaissancesociety.org/publishing/955/palomar-online-videos/

•

Excited and honored to be showing with some of my favorite artists!

Palomar
The Renaissance Society @rensoc
curated by Karsten Lund @kwlund

Palomar is a group exhibition about watching the sky, something that appears deceptively simple at first. Featuring twenty-eight artists, it unfolds in two parts, each five weeks long. Some works remain in place while others come and go, this encounter in time acting like a double exposure. Gradually, the familiar act of looking up spills over into a sense of life that is more layered and complex, or even contradictory. It turns out there is a lot at stake in the space above us.

https://renaissancesociety.org/exhibitions/562/palomar-part-1/

Watch the films here:
https://renaissancesociety.org/publishing/955/palomar-online-videos/

•

Join us next Tuesday, May 19, to celebrate the release of the exhibition catalogue for ‘Alice Wang: Windstorm on Saturn, Basalt Columns, MDMA, Serotonin’ with artist Alice Wang, writer Bettina Funcke, and ISCP’s Director of Programs, Melinda Lang.

Published by ISCP and designed by Masato Nakada, the book includes an introduction by Lang and an essay by Funcke that consider Wang’s practice through questions of perception, geometry, and our relationship to planetary and cosmic systems. Publications will be available for purchase at the event.

Bettina Funcke is a New York–based writer, critic, and editor who has published extensively on contemporary art and philosophy. Her forthcoming book, ‘Interrupture: New York Art, 1999–2024,’ will be published by No Place Press. She also edited ‘100 Notes—100 Thoughts for Documenta 13’ and has written for publications including Artforum, Bookforum, Spike, Mousse, The Brooklyn Rail, Fillip, and Texte zur Kunst, among others.

📍Tuesday, May 19, 6:30–7:30pm, 1040 Metropolitan Ave, Brooklyn

Support @iscp_nyc! This hexagon column porcelain sculpture is up for auction on @artsyas part of ISCP’s Annual Benefit.

Untitled, 2026
Porcelain, glaze, and iridescent overglaze
4 × 3 1/4 × 3 1/4 in

Bidding will begin closing on Tuesday, May 5th at 12:00 pm ET: https://www.artsy.net/artwork/alice-wang-untitled-74

•

Please meet our Visual Arts Resident Alice Wang (@aaaaaalis). 🎨⁠
⁠
Alice is a Chinese-born, New York–based artist whose work moves between the scientific and speculative, tracing connections between body, Earth, and cosmos. Working across film, sculpture, and print, she draws on her background in computer science and fine art to explore patterns that link the intimate and the planetary.⁠
⁠
During her residency, Wang produced much of the work in her current solo exhibition, Windstorm on Saturn, Basalt Columns, MDMA, Serotonin—on view at @iscp_nyc through June 5, 2026. The exhibition centers the hexagon as a recurring form across vastly different scales—from Saturn’s polar storm to basalt columns and molecular structures—bringing together ceramic sculptures, meteorite imagery, and her film 𝘚𝘱𝘢𝘤𝘦 𝘈𝘯𝘢𝘭𝘰𝘨𝘴: 𝘗𝘺𝘳𝘢𝘮𝘪𝘥𝘴 𝘢𝘯𝘥 𝘗𝘢𝘳𝘢𝘣𝘰𝘭𝘢𝘴 𝘐𝘐𝘐 (2024). ⁠In the video, you can see Alice glazing one of her porcelain sculptures.⁠
⁠
Currently, her newly commissioned film 𝘛𝘩𝘦 𝘚𝘬𝘺 𝘐𝘴 𝘕𝘰𝘵 𝘙𝘦𝘢𝘭: 𝘗𝘺𝘳𝘢𝘮𝘪𝘥𝘴 𝘢𝘯𝘥 𝘗𝘢𝘳𝘢𝘣𝘰𝘭𝘢𝘴 𝘐𝘝 is on view in New Humans: Memories of the Future at @newmuseum in New York City. Her work will also be on view as part of the exhibition Palomar at @rensoc in Chicago, opening this Saturday, May 2.⁠
⁠
Learn more and visit Alice at May Second Sundays during our Open Studio hours from 2-4 pm.

Please meet our Visual Arts Resident Alice Wang (@aaaaaalis). 🎨⁠
⁠
Alice is a Chinese-born, New York–based artist whose work moves between the scientific and speculative, tracing connections between body, Earth, and cosmos. Working across film, sculpture, and print, she draws on her background in computer science and fine art to explore patterns that link the intimate and the planetary.⁠
⁠
During her residency, Wang produced much of the work in her current solo exhibition, Windstorm on Saturn, Basalt Columns, MDMA, Serotonin—on view at @iscp_nyc through June 5, 2026. The exhibition centers the hexagon as a recurring form across vastly different scales—from Saturn’s polar storm to basalt columns and molecular structures—bringing together ceramic sculptures, meteorite imagery, and her film 𝘚𝘱𝘢𝘤𝘦 𝘈𝘯𝘢𝘭𝘰𝘨𝘴: 𝘗𝘺𝘳𝘢𝘮𝘪𝘥𝘴 𝘢𝘯𝘥 𝘗𝘢𝘳𝘢𝘣𝘰𝘭𝘢𝘴 𝘐𝘐𝘐 (2024). ⁠In the video, you can see Alice glazing one of her porcelain sculptures.⁠
⁠
Currently, her newly commissioned film 𝘛𝘩𝘦 𝘚𝘬𝘺 𝘐𝘴 𝘕𝘰𝘵 𝘙𝘦𝘢𝘭: 𝘗𝘺𝘳𝘢𝘮𝘪𝘥𝘴 𝘢𝘯𝘥 𝘗𝘢𝘳𝘢𝘣𝘰𝘭𝘢𝘴 𝘐𝘝 is on view in New Humans: Memories of the Future at @newmuseum in New York City. Her work will also be on view as part of the exhibition Palomar at @rensoc in Chicago, opening this Saturday, May 2.⁠
⁠
Learn more and visit Alice at May Second Sundays during our Open Studio hours from 2-4 pm.

Please meet our Visual Arts Resident Alice Wang (@aaaaaalis). 🎨⁠
⁠
Alice is a Chinese-born, New York–based artist whose work moves between the scientific and speculative, tracing connections between body, Earth, and cosmos. Working across film, sculpture, and print, she draws on her background in computer science and fine art to explore patterns that link the intimate and the planetary.⁠
⁠
During her residency, Wang produced much of the work in her current solo exhibition, Windstorm on Saturn, Basalt Columns, MDMA, Serotonin—on view at @iscp_nyc through June 5, 2026. The exhibition centers the hexagon as a recurring form across vastly different scales—from Saturn’s polar storm to basalt columns and molecular structures—bringing together ceramic sculptures, meteorite imagery, and her film 𝘚𝘱𝘢𝘤𝘦 𝘈𝘯𝘢𝘭𝘰𝘨𝘴: 𝘗𝘺𝘳𝘢𝘮𝘪𝘥𝘴 𝘢𝘯𝘥 𝘗𝘢𝘳𝘢𝘣𝘰𝘭𝘢𝘴 𝘐𝘐𝘐 (2024). ⁠In the video, you can see Alice glazing one of her porcelain sculptures.⁠
⁠
Currently, her newly commissioned film 𝘛𝘩𝘦 𝘚𝘬𝘺 𝘐𝘴 𝘕𝘰𝘵 𝘙𝘦𝘢𝘭: 𝘗𝘺𝘳𝘢𝘮𝘪𝘥𝘴 𝘢𝘯𝘥 𝘗𝘢𝘳𝘢𝘣𝘰𝘭𝘢𝘴 𝘐𝘝 is on view in New Humans: Memories of the Future at @newmuseum in New York City. Her work will also be on view as part of the exhibition Palomar at @rensoc in Chicago, opening this Saturday, May 2.⁠
⁠
Learn more and visit Alice at May Second Sundays during our Open Studio hours from 2-4 pm.

Please meet our Visual Arts Resident Alice Wang (@aaaaaalis). 🎨⁠
⁠
Alice is a Chinese-born, New York–based artist whose work moves between the scientific and speculative, tracing connections between body, Earth, and cosmos. Working across film, sculpture, and print, she draws on her background in computer science and fine art to explore patterns that link the intimate and the planetary.⁠
⁠
During her residency, Wang produced much of the work in her current solo exhibition, Windstorm on Saturn, Basalt Columns, MDMA, Serotonin—on view at @iscp_nyc through June 5, 2026. The exhibition centers the hexagon as a recurring form across vastly different scales—from Saturn’s polar storm to basalt columns and molecular structures—bringing together ceramic sculptures, meteorite imagery, and her film 𝘚𝘱𝘢𝘤𝘦 𝘈𝘯𝘢𝘭𝘰𝘨𝘴: 𝘗𝘺𝘳𝘢𝘮𝘪𝘥𝘴 𝘢𝘯𝘥 𝘗𝘢𝘳𝘢𝘣𝘰𝘭𝘢𝘴 𝘐𝘐𝘐 (2024). ⁠In the video, you can see Alice glazing one of her porcelain sculptures.⁠
⁠
Currently, her newly commissioned film 𝘛𝘩𝘦 𝘚𝘬𝘺 𝘐𝘴 𝘕𝘰𝘵 𝘙𝘦𝘢𝘭: 𝘗𝘺𝘳𝘢𝘮𝘪𝘥𝘴 𝘢𝘯𝘥 𝘗𝘢𝘳𝘢𝘣𝘰𝘭𝘢𝘴 𝘐𝘝 is on view in New Humans: Memories of the Future at @newmuseum in New York City. Her work will also be on view as part of the exhibition Palomar at @rensoc in Chicago, opening this Saturday, May 2.⁠
⁠
Learn more and visit Alice at May Second Sundays during our Open Studio hours from 2-4 pm.

Please meet our Visual Arts Resident Alice Wang (@aaaaaalis). 🎨⁠
⁠
Alice is a Chinese-born, New York–based artist whose work moves between the scientific and speculative, tracing connections between body, Earth, and cosmos. Working across film, sculpture, and print, she draws on her background in computer science and fine art to explore patterns that link the intimate and the planetary.⁠
⁠
During her residency, Wang produced much of the work in her current solo exhibition, Windstorm on Saturn, Basalt Columns, MDMA, Serotonin—on view at @iscp_nyc through June 5, 2026. The exhibition centers the hexagon as a recurring form across vastly different scales—from Saturn’s polar storm to basalt columns and molecular structures—bringing together ceramic sculptures, meteorite imagery, and her film 𝘚𝘱𝘢𝘤𝘦 𝘈𝘯𝘢𝘭𝘰𝘨𝘴: 𝘗𝘺𝘳𝘢𝘮𝘪𝘥𝘴 𝘢𝘯𝘥 𝘗𝘢𝘳𝘢𝘣𝘰𝘭𝘢𝘴 𝘐𝘐𝘐 (2024). ⁠In the video, you can see Alice glazing one of her porcelain sculptures.⁠
⁠
Currently, her newly commissioned film 𝘛𝘩𝘦 𝘚𝘬𝘺 𝘐𝘴 𝘕𝘰𝘵 𝘙𝘦𝘢𝘭: 𝘗𝘺𝘳𝘢𝘮𝘪𝘥𝘴 𝘢𝘯𝘥 𝘗𝘢𝘳𝘢𝘣𝘰𝘭𝘢𝘴 𝘐𝘝 is on view in New Humans: Memories of the Future at @newmuseum in New York City. Her work will also be on view as part of the exhibition Palomar at @rensoc in Chicago, opening this Saturday, May 2.⁠
⁠
Learn more and visit Alice at May Second Sundays during our Open Studio hours from 2-4 pm.

Please meet our Visual Arts Resident Alice Wang (@aaaaaalis). 🎨⁠
⁠
Alice is a Chinese-born, New York–based artist whose work moves between the scientific and speculative, tracing connections between body, Earth, and cosmos. Working across film, sculpture, and print, she draws on her background in computer science and fine art to explore patterns that link the intimate and the planetary.⁠
⁠
During her residency, Wang produced much of the work in her current solo exhibition, Windstorm on Saturn, Basalt Columns, MDMA, Serotonin—on view at @iscp_nyc through June 5, 2026. The exhibition centers the hexagon as a recurring form across vastly different scales—from Saturn’s polar storm to basalt columns and molecular structures—bringing together ceramic sculptures, meteorite imagery, and her film 𝘚𝘱𝘢𝘤𝘦 𝘈𝘯𝘢𝘭𝘰𝘨𝘴: 𝘗𝘺𝘳𝘢𝘮𝘪𝘥𝘴 𝘢𝘯𝘥 𝘗𝘢𝘳𝘢𝘣𝘰𝘭𝘢𝘴 𝘐𝘐𝘐 (2024). ⁠In the video, you can see Alice glazing one of her porcelain sculptures.⁠
⁠
Currently, her newly commissioned film 𝘛𝘩𝘦 𝘚𝘬𝘺 𝘐𝘴 𝘕𝘰𝘵 𝘙𝘦𝘢𝘭: 𝘗𝘺𝘳𝘢𝘮𝘪𝘥𝘴 𝘢𝘯𝘥 𝘗𝘢𝘳𝘢𝘣𝘰𝘭𝘢𝘴 𝘐𝘝 is on view in New Humans: Memories of the Future at @newmuseum in New York City. Her work will also be on view as part of the exhibition Palomar at @rensoc in Chicago, opening this Saturday, May 2.⁠
⁠
Learn more and visit Alice at May Second Sundays during our Open Studio hours from 2-4 pm.

•

I make sculptures and films that use
form to shift perception. My work
looks at structures that exist beyond
the scale of human experience, from
cosmic background radiation to
subatomic particles, and asks how
these conditions are experienced
rather than described. Instead of
translating these ideas into language,
I work through material and form,
bringing them into the register of the
body. My research takes me to sites
such as the Arctic, Biosphere 2, and
Mesoamerican pyramids, where
scale and orientation begin to break
down. These encounters inform how
I work with materials already in
states of transformation—fossils,
meteorites, plants, and heat. I use
sculpture as a way to work through
these conditions, where geometry
and material behavior remain in
tension. The work operates between
what can be measured and what can
only be sensed. The hexagon
entered my work through a
realization that it appears across
vastly different scales, from
planetary formations to molecular
structures. It’s a stable geometry,
but its recurrence cannot be fully
explained. My films begin with the
body. The camera moves through
space rather than describing it.
First-person footage, found images,
and memory interfere with each
other. I’m interested in the point
where perception breaks from
understanding.

April, 2026

•

•

I make sculptures and films that use
form to shift perception. My work
looks at structures that exist beyond
the scale of human experience, from
cosmic background radiation to
subatomic particles, and asks how
these conditions are experienced
rather than described. Instead of
translating these ideas into language,
I work through material and form,
bringing them into the register of the
body. My research takes me to sites
such as the Arctic, Biosphere 2, and
Mesoamerican pyramids, where
scale and orientation begin to break
down. These encounters inform how
I work with materials already in
states of transformation—fossils,
meteorites, plants, and heat. I use
sculpture as a way to work through
these conditions, where geometry
and material behavior remain in
tension. The work operates between
what can be measured and what can
only be sensed. The hexagon
entered my work through a
realization that it appears across
vastly different scales, from
planetary formations to molecular
structures. It’s a stable geometry,
but its recurrence cannot be fully
explained. My films begin with the
body. The camera moves through
space rather than describing it.
First-person footage, found images,
and memory interfere with each
other. I’m interested in the point
where perception breaks from
understanding.

April, 2026

•

•

I make sculptures and films that use
form to shift perception. My work
looks at structures that exist beyond
the scale of human experience, from
cosmic background radiation to
subatomic particles, and asks how
these conditions are experienced
rather than described. Instead of
translating these ideas into language,
I work through material and form,
bringing them into the register of the
body. My research takes me to sites
such as the Arctic, Biosphere 2, and
Mesoamerican pyramids, where
scale and orientation begin to break
down. These encounters inform how
I work with materials already in
states of transformation—fossils,
meteorites, plants, and heat. I use
sculpture as a way to work through
these conditions, where geometry
and material behavior remain in
tension. The work operates between
what can be measured and what can
only be sensed. The hexagon
entered my work through a
realization that it appears across
vastly different scales, from
planetary formations to molecular
structures. It’s a stable geometry,
but its recurrence cannot be fully
explained. My films begin with the
body. The camera moves through
space rather than describing it.
First-person footage, found images,
and memory interfere with each
other. I’m interested in the point
where perception breaks from
understanding.

April, 2026

•

She is not a woman, though neither of course is she a man; she is more like an element. A physiological manifestation perhaps, in the same way the rocks and trees are physiological manifestations. Material. Matter. Stuff.

— Claire-Louise Bennett, Control Knobs

Currently on view @iscp_nyc, Windstorm on Saturn, Basalt Columns, MDMA, Serotonin, curated by Melinda Lang.

Space Analogs: Pyramids and Parabolas III, 2024
16mm transfer and HD video, color, sound; 16:41 min

•

Is it possible to understand one’s own consciousness, or that of others? ⁠
⁠
New York-based artist and filmmaker Alice Wang (@aaaaaalis) probes this question through studies of form and material, excursions into fields including science, history and technology, and solo journeys undertaken to document remote natural vistas and archaeological sites.⁠
⁠
Read Jenny Wu (@safflower_lady) in conversation with Alice Wang on Ocula.

Is it possible to understand one’s own consciousness, or that of others? ⁠
⁠
New York-based artist and filmmaker Alice Wang (@aaaaaalis) probes this question through studies of form and material, excursions into fields including science, history and technology, and solo journeys undertaken to document remote natural vistas and archaeological sites.⁠
⁠
Read Jenny Wu (@safflower_lady) in conversation with Alice Wang on Ocula.

Is it possible to understand one’s own consciousness, or that of others? ⁠
⁠
New York-based artist and filmmaker Alice Wang (@aaaaaalis) probes this question through studies of form and material, excursions into fields including science, history and technology, and solo journeys undertaken to document remote natural vistas and archaeological sites.⁠
⁠
Read Jenny Wu (@safflower_lady) in conversation with Alice Wang on Ocula.

Is it possible to understand one’s own consciousness, or that of others? ⁠
⁠
New York-based artist and filmmaker Alice Wang (@aaaaaalis) probes this question through studies of form and material, excursions into fields including science, history and technology, and solo journeys undertaken to document remote natural vistas and archaeological sites.⁠
⁠
Read Jenny Wu (@safflower_lady) in conversation with Alice Wang on Ocula.

Is it possible to understand one’s own consciousness, or that of others? ⁠
⁠
New York-based artist and filmmaker Alice Wang (@aaaaaalis) probes this question through studies of form and material, excursions into fields including science, history and technology, and solo journeys undertaken to document remote natural vistas and archaeological sites.⁠
⁠
Read Jenny Wu (@safflower_lady) in conversation with Alice Wang on Ocula.

Is it possible to understand one’s own consciousness, or that of others? ⁠
⁠
New York-based artist and filmmaker Alice Wang (@aaaaaalis) probes this question through studies of form and material, excursions into fields including science, history and technology, and solo journeys undertaken to document remote natural vistas and archaeological sites.⁠
⁠
Read Jenny Wu (@safflower_lady) in conversation with Alice Wang on Ocula.

Is it possible to understand one’s own consciousness, or that of others? ⁠
⁠
New York-based artist and filmmaker Alice Wang (@aaaaaalis) probes this question through studies of form and material, excursions into fields including science, history and technology, and solo journeys undertaken to document remote natural vistas and archaeological sites.⁠
⁠
Read Jenny Wu (@safflower_lady) in conversation with Alice Wang on Ocula.

Is it possible to understand one’s own consciousness, or that of others? ⁠
⁠
New York-based artist and filmmaker Alice Wang (@aaaaaalis) probes this question through studies of form and material, excursions into fields including science, history and technology, and solo journeys undertaken to document remote natural vistas and archaeological sites.⁠
⁠
Read Jenny Wu (@safflower_lady) in conversation with Alice Wang on Ocula.

Logic failed her.

Currently on view @newmuseum, New Humans: Memories of the Future, curated by Massimiliano Gioni, Gary Carrion-Murayari, Vivian Crockett, and Madeline Weisburg, with Calvin Wang.

The Sky Is Not Real: Pyramids and Parabolas IV, 2026
HD video, color, sound; 24:46 min

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