Two performers converse while sitting on the steps of a staircase.

Heman Chong, A Short Story About Geometry, 2009, durational performance, SeMa Seoul Museum of Art. Courtesy of the artist and Amanda Wilkinson Gallery.

Conference & Symposium

Instruct & Being Instructed

Category
Programmes

Series
In Conversation

Theme
Communities of Practice

Topics
Artistic Research, Cultural Environment, Cultural Production, Curatorial Practice, Curatorial Production, Education, History, Institutional Critique, Social Systems, Technology

Regions
Southeast Asia

Instruct & Being Instructed

Friday, 5 September 2025 - Saturday, 6 September 2025

The conference Instruct & Being Instructed seeks to explore the multifaceted role of instructions within the domain of art, from historical and contemporary perspectives. Central to this inquiry is the interrogation of how instructions—whether textual, verbal, or performative—mediate the multifaceted relationships between artists, artworks, audiences, collections or institutions in a wider global context. The conference will critically examine instructions as a tool of artistic authority, a frame to manifest crafts for art-making practices, a form of artistic experimentation and resistance, and it will also reflect on the educational dimension of instructions within the historical and contemporary curricula of art academies. By drawing on theories from curatorial practices, art history, pedagogy, cultural studies, and critical theory, the conference will investigate the ways in which instructions operate as a site of tension between prescriptive frameworks and the creative autonomy of the artist. Through a varied lineup of presentations and panel discussions, Instruct & Being Instructed aims to scrutinise the historical evolution of instructional paradigms in art, the impact of instructions on the materiality of artworks, and the socio-political implications of instructional art creating a critical and inclusive platform to rethink the function and implications of instructions in contemporary art practices, institutional frameworks, and broader socio-cultural contexts.

The conference programme is structured around three thematic panels: “Art and Power,” “Art and Technology,” and “Art and Embodiment.” These themes will be explored through a range of formats—including keynote lectures, artistic performances, presentations, and panel discussions—designed to encourage active dialogue, cross-disciplinary insight, and critical reflection among participants.

The conference is convened by Dr Marc Glöde, Associate Professor at the School of Art, Design and Media, Nanyang Technological University (NTU), in collaboration with Dr. Agnieszka Chalas, Assistant Professor at the National Institute of Education, NTU, and Dr. Sushma Griffin, Lecturer at the School of Humanities, NTU. Collectively, their diverse expertise across curatorial studies, education, art history, and cultural theory informs a dynamic and interdisciplinary approach to the theme of instruction in art.

The conference Instruct & Being Instructed has a hybrid format. The online presentations will be live-streamed at The Hall, NTU CCA Singapore, to welcome in-person participation.

Free upon registration.

PROGRAMME SCHEDULE

Friday, 5 September 2025, 6:30 – 8.00 pm (SGT)
Register: Online / On-site

6:30 – 7:00 pm
Opening remarks by organisers

7:00 – 8:00 pm
[online] Keynote Lecture: Ever Prompt – From “Do It” to Protocol Art
by Hans Ulrich Obrist, Artistic Director, Serpentine Galleries, London

8:00 – 9:00 pm
Reception with complimentary refreshments

Saturday, 06 September 2025, 10:00 am – 2:30 pm (SGT)
Register: Online / On-site

Panel 1: ART AND POWER
Moderated by Dr Sushma Griffin, Lecturer in the Department of Art History, School of Humanities, Nanyang Technological University

This panel examines the nuanced operations of instructions in their interplay between authority and negotiation within artistic, curatorial, and pedagogical contexts. It considers how certain overlooked elements of arts programming that might seem unwarranted and redundant actually provide value and access relating to the discursive realms of curatorial, artistic, and design practices. It looks beyond received narratives to speculate on the influence and implications of instructions in art and design pedagogies on the longer histories of contemporary art and art institutions.

10:00 – 10:15 am
[online] Constellations of the Paracurricular and Paracuratorialby Dr Karin G. Oen-Lee, Assistant Professor, Art History and Museum Studies, University of Maryland Baltimore County

Centring concepts of the curatorial, the paracuratorial, and the constellation, this presentation situates Nanyang Technological University Centre for Contemporary Art Singapore (NTU CCA Singapore), a unique research-oriented contemporary art centre, as a “paracurricular” resource for and of the university while also serving as a bridge for non-university publics and collaborators. The Centre’s diverse modes of conducting and sharing research, including but not limited to exhibitions and other curatorial projects, suggest that while exhibition facilities are helpful in convening community around artistic knowledge production, there are multiple and various formats that can contribute to a robust paracurricular environment. Artists’ residencies, publications, and discursive programmes each offer a way to encourage lively transdisciplinary connections to the realm of contemporary art and other fields in ways that tangibly benefit and enrich the experiences of both students and faculty through formal and informal connections. As a brief coda, the Centre’s mode of distributing power and interrogating power structures in higher education through non-curricular and atypical knowledge production can be read differently when compared to another constellation– the student-led extra-curricular explorations of philosophy and theory in mainland Chinese art academies in the 1980s in the context of “high culture fever.”

10:15 – 10:30 am
[online] Framework and Principles of Asian American Critical Pedagogy in Art Education by Dr Ryan Shin, Professor, School of Art, University of Arizona

The Asian American Critical Pedagogy Framework (AACP) addresses and challenges the systemic marginalisation of Asian art and culture within art education curricula and teaching practices. It proposes a new critical approach centered on the lived experiences of Asian American artists and communities. The framework was developed to address the curricular neglect and othering of Asian art and the underrepresentation of Asian artists in art education. The framework consists of four key principles: Asian American critical consciousness, counternarratives and reclamation, heterogeneity and intersectionality, and joy and wellness. The first principle, Asian American critical consciousness, confronts white supremacy and Orientalism by urging educators and students to recognize and critique existing power structures. Counternarratives and reclamation focus on centering Asian American voices, reclaiming their stories, histories, and identities. Heterogeneity and intersectionality recognise the diverse and complex nature of Asian American identities, acknowledging how experiences of oppression and power differ based on factors such as class, gender, age, and ability. Lastly, joy and wellness emphasize the importance of healing and empowerment for Asian American students and educators, fostering psychologically safe spaces for collective mourning, celebration, and exploration. The AACP framework can serve as a foundation for developing culturally relevant curricula that promote equity, inclusivity, and diversity within art education. It challenges the marginalization and cultural erasure of Asian art and culture to dismantle narrow representations that inhibit a full recognition of Asian artistic contributions. Ultimately, this framework aims to disrupt Eurocentric narratives and empower Asian American students and educators to thrive within the field of art education.

10:30 – 10:45 am
[online] Learning what can’t be taught: reflections on Zhang Peili and artistic ‘genealogy’ in narratives of contemporary (Asian) art by Dr Olivier Krischer, Lecturer, School of Art & Design, University of New South Wales

“Can artistic attitude be taught or passed down from one generation to another?” This simple question was at the heart of the interesting curatorial project Learning What Can’t Be Taught, organised at Asia Art Archive in 2021. Focusing on six artists from the China Art Academy, the first national art school in China, established in 1928, the project looked beyond the familiar avant-garde narrative of rupture, to consider similarities and influences across three pedagogical ‘generations’ of artists to emerge in contemporary China—in a period marked by radical material transformation. This paper, originally pitched for that project, draws on unpublished research taking the form of a somewhat speculative genealogy for Zhang Peili, in order to highlight early influences or parallels in the formation of his notably conceptual practice, initially through painting. It considers the curiously experimental nature of his peers at CAA’s No.1 Studio, under the tutelage of painter Jin Yide, who had received experimental training under visiting Romanian artists in 1960s Hangzhou, for example. I speculate on Zhang’s early assertion of conceptual, post-studio art practice might be rooted, or ‘seeded’, in the genealogy of his art education and experiences? Since Zhang was invited to establish the first course on new media art in China, at CAA in the early 2000s, these questions have broader implications for how we understand histories of art and institutions, and not just in the Chinese context.

10:45 – 11:15 am Joint discussion and Q&A

11:15 – 11:30 am Short break

Panel 2: ARTAND TECHNOLOGY
Moderated by Paul Lincoln, Head of the Visual and Performing Arts at National Institute of Education and the Director of the NTU Museum at Nanyang Technological University

Focusing on the entanglement of instructions and technological mediation, this panel explores how tools, codes, and digital systems reconfigure art-making, its reception and teaching. From historical craft practices to contemporary algorithmic and AI-driven approaches, it asks how instructions function as both enabling structures and constraints. The discussion will bridge art, design, and media perspectives with pedagogical concerns about how technology shapes artistic learning and experimentation.

11:30 – 11:45 am
[online] Aesthetic Illegitimacy in the Corpocene by Dr Katherine Guinness, Assistant Professor, Critical Studies in the Department of Art, University of Maryland, College Park and Dr Grant Bollmer, Associate Research Professor, University of Maryland, College Park

This talk describes a central contradiction in aesthetic theory today. On one hand there exists a range of seemingly insignificant, temporary trends linked with the political economy of identity and visibility on the internet; “aesthetics” online are a way of distinguishing oneself, linked with the desire to commodify oneself as an object of attention and, therefore, value. On the other hand are academic discussions that often defer to “art” in an institutionally legitimate sense, using the traditional object of aesthetic contemplation as a route to theorize technology, the body, emotion, and beyond. “Art” has become a way for cultural theorists to signify the legitimacy of their arguments, even though “aesthetics” more broadly, today, point to a range of phenomena that are seemingly illegitimate because of their imbrication with, and thus “corruption” by, capital and value. As we will develop in this talk, the foundations of aesthetic theory and philosophy emerge from a crisis of capital. This talk will return to the earliest development of aesthetic theory, the German philosopher Alexander Gottlieb Baumgarten. In responding to an emerging market for art called into being by a new wealth class, Baumgarten was the writer who transformed the meaning of “aesthetic” from one that merely referred to a kind of sensation or sensibility to its explicit linkage with questions of taste, of good and bad, of value and evaluation. In returning to Baumgarten, we seek to draw out parallels between our present and the context in which aesthetics, taste, and judgment initially appeared as problems for philosophy. If art and aesthetics are ultimately linked with the accumulation of capital and problems of value, then, we ask, what are the possibilities for a “political” art? If it is impossible to escape the link between art and market, then what might it look like to parasite capital today?

11:45 am – 12:00 pm
What Happens When AI Joins the Art Room? Insights from Students and Educators by Dr Joo Hong Low, Senior Teaching Fellow, the National Institute of Education, Nanyang Technological University

This presentation explores the integration of Artificial Intelligence (AI) in secondary art education in Singapore, drawing on classroom-based case studies from selected secondary schools. It investigates how AI tools—particularly generative image models—are being used by students to support ideation, enhance creative expression, and bridge the gap between conceptual thinking and visual realisation. Students responded positively to AI’s immediacy and versatility, noting how it helped them explore multiple possibilities, visualise abstract ideas, and personalise their creative process. At the same time, the presentation critically examines the challenges and limitations of AI in art classrooms. Some students voiced concerns about over-reliance on AI, expressing that it could diminish the tactile, imaginative, and experimental aspects of traditional artmaking. Others noted frustrations with inconsistent or inaccurate outputs, and a perceived risk of homogenisation—where artworks began to resemble one another due to similar prompt-based results. Beyond creative concerns, the talk will highlight key ethical considerations, including copyright, authorship, misinformation, and the need to uphold academic integrity. These issues point to the growing importance of AI literacy in the art curriculum—not just in terms of technical skills, but also in fostering critical awareness, aesthetic judgment, and ethical responsibility. Ultimately, this session advocates for a nuanced and transformative pedagogical approach, where AI is positioned as a co-creative partner rather than a replacement for artistic agency. It proposes that when used intentionally, AI can enrich the learning experience and empower students—if balanced with hands-on practice, teacher guidance, and thoughtful curricular design.

12:00 – 12:30 pm Joint discussion and Q&A

12:30 – 1:00 pm Lunch break

Panel 3: ART AND EMBODIMENT
Moderated by Dr Marc Glöde, Associate Professor and Co-Director of the MA in Museum Studies and Curatorial Practices at ADM, Nanyang Technological University

This panel turns to the corporeal and experiential dimensions of instructions, asking how bodies—of artists, audiences, and students—become sites of inscription, transmission, and enactment. By considering performance, pedagogy, and material engagement, the panel explores how instructions shape artistic knowledge not only through words and images but also through embodied practices. The emphasis here connects art history and education with lived, sensorial, and affective registers of artistic instruction.

1:00 – 1:15 pm
Learning through procession: ritual, embodiment, and shared knowledge in Thaipusam by Laura Miotto, Associate Professor and Co-Director of MA in Museum Studies and Curatorial Practices, Nanyang Technological University

This talk examines how knowledge is transmitted through embodied ritual practices, focusing on the Thaipusam procession in Singapore. As an ephemeral event, the procession becomes a site where learning takes place collectively—through bodily and sensory experiences in ritual acts—revealing how Thaipusam generates shared knowledge across religious, cultural, and artistic contexts.

1:15 – 1:30 pm
Memories and other instructional works by Heman Chong, Artist

In his ongoing project Memories, artist and writer Heman Chong explores the act of publishing through performance. Each work begins with a short story of around 500 words, written with a very specific form of transmission in mind. Participants are invited through an open call to memorise one story word for word with the help of a personal trainer. The performance ends only when the participant can flawlessly recite the entire text back to the trainer. These stories are never published — not in print, nor online. The only way to “receive” them is by memorising them, investing significant time and effort. Yet this gift is ephemeral: without constant rehearsal, the words quickly fade. Chong first devised this method of “publishing as performance” in 2009 during Ong Keng Sen’s Flying Circus Project at T:>Works in Singapore, which also featured Boris Charmatz’s expo zero, a performance exhibition using only the bodies of artists. As curator Anca Rujoiu notes, Chong’s practice is “a quest for writing, an exploration of its desires and disenchantments as well as the conditions that constitute it.” His works interweave writing, publishing, performing, and collaboration, creating a fluid and dynamic space where instructions shape both the artwork and its audience. In this presentation, Chong reflects on the role of instructions in his practice and how they reconfigure the boundaries between art, memory, and participation.

1:30 – 1:45 pm
Investigating Artistic Authority and Participation through Performative Instruction in Contemporary Southeast Asian Art by Yi Yinzi, PhD candidate at the School of Art, Design and Media, Nanyang Technological University

This presentation explores how performative instruction in contemporary Southeast Asian art mediates the complex dynamics between artistic authority and audience participation. On the one hand, artistic instruction can shape, enable, and at times restrict audience participation to the point of compromising participatory agency or even causing discomfort. On the other hand, there are moments in performance art when participants retain the choice to engage or not, based on their interest in the project, their informed knowledge of what may unfold, and their assessment of their own capabilities. This presentation considers Vietnamese artist Pham Ha Hai’s performance at the Asiatopia International Performance Art Festival II in Bangkok in 1999, in which he blindfolded participants and instructed them to smear black ink on their faces without disclosing what was in their hands, alongside Singaporean artist Heman Chong’s Memories, where an instructor reads a roughly 500-word story written by Chong to a participant, who is then required to memorize and recite the story word for word. In these examples, artistic and participatory choices both operate within the aesthetic realm and are shaped by the social realities that contextualize the practice. This raises questions about whether the aesthetic realm can serve as an exception to everyday social practices of acceptance and refusal, the different temporal phases of a project in which participants may initiate or revisit their judgment, and the modern notion of a contract based on mutual consent, where each party is assumed to be capable of making rational choices.

1:45 – 2:15 pm Joint discussion and Q&A

2:15 – 2:30 pm Final Remarks and Closing of Event

Instruct & Being Instructed is supported by CoHASS Interdisciplinary Conference, Symposium, and Workshop Scheme.

Biographies

Dr Grant Bollmer studies the history and theory of digital cultures. He is the author or co-author of several books, Inhuman Networks: Social Media and the Archaeology of Connection (Bloomsbury, 2016), Theorizing Digital Cultures (Sage, 2018), Materialist Media Theory: An Introduction(Bloomsbury, 2019), The Affect Lab: The History and Limits of Measuring Emotion (Minnesota, 2023), and, with Katherine Guinness, The Influencer Factory: A Marxist Theory of Corporate Personhood on YouTube (Stanford, 2024). He is co-editor, with Katherine Guinness and Yiğit Soncul, of the De Gruyter Handbook of Digital Cultures (De Gruyter, 2025). He has been a recipient of a grant from the National Endowment for the Humanities and his work has been translated into French, German, and Korean. He currently teaches at the University of Maryland, College Park.

Dr Marc Glöde is a curator, film scholar, and critic and has been Associate Professor and Co-Director of the MA in Museum Studies and Curatorial Practices at NTU ADM Singapore since 2017. He was senior curator of Art Basel Film (2008-14) and his curatorial work, which began in the mid-90s, has ranged from STILL/MOVING/STILL – The History of Slide Projection in the Arts (Knokke, Belgium) to more recent exhibitions To Draw A Line (NTU ADM Gallery, Singapore), Suzanne Victor: Of Waters and On Time (STPI, Singapore). Glöde has also worked with independent spaces such as Objectifs Centre for Photography and Film, Singapore, Heritage Space and DocLab, Hanoi, Vietnam, and is part of the artist group Progressive Disintegrations. He authored the book Farbige Lichträume (2014) and was co-editor of Synästhesie-Effekte (2011). Furthermore, he has contributed chapters to recent publications including The Impossibility of Mapping (Urban Asia)(2020) and John Young: The History Projects (2025). He received his PhD at the Free University of Berlin.

Dr Sushma Griffin is a Lecturer in the Department of Art History at Nanyang Technological University, where she specialises in the modern art of South Asia. She received her PhD in Art History from the University of Queensland. Prior to working at NTU, she was a Postdoctoral Fellow at the Getty Research Institute (2021-22) and then at the Yale University affiliated Paul Mellon Centre for Studies in British Art (2023-24). Her research examines the interconnections between images, philosophies of vision, and art historiography exploring in particular how nineteenth-century photography mediated the production and reception of the colonised Indian landscape. She is currently working on a monograph provisionally titled “Resistant Mediations: the Colonial Camera and the Art of Indian Pilgrimage”. She has a chapter entitled “Futurisms Beyond Western Cultural Imaginaries” in the forthcoming De Gruyter Handbook of Digital Cultures (2025).

Dr Katherine Guinness is Assistant Professor of Critical Studies in the Department of Art at the University of Maryland, College Park. She is the author of Schizogenesis: The Art of Rosemarie Trockel(Minnesota, 2019), the co-author of The Influencer Factory: A Marxist Theory of Corporate Personhood on YouTube (Stanford, 2024), and co-editor of the collections Contemporary Absurdities, Existential Crises and Visual Art (Intellect, 2024) and the De Gruyter Handbook of Digital Cultures (De Gruyter, 2025).

Dr Olivier Krischer is a historian and curator of art from East Asia and the Asian Australian diaspora, whose research concerns modern and contemporary transcultural art, photography and intermedia practices. His curatorial projects include ‘Assembly'(2023), featuring eight Hong Kong-born artists, ‘Wayfaring: Photography in 1970s-80s Taiwan'(2021) and ‘Between: Picturing 1950-1960s Taiwan'(2016). His publications include John Young: The History Projects (2025), Zhang Peili: From Painting to Video (2019) and Asia through Art and Anthropology: Cultural Translation Across Borders (with F. Nakamura and M. Perkins, 2013). Krischer is currently a lecturer at the University of New South Wales School of Art & Design.

Dr Karin G. Oen-Lee is a curator and Assistant Professor of Art History and Museum Studies at the University of Maryland Baltimore County. In Singapore, she was Director of the NTU Centre for Contemporary Art Singapore from 2024-2025 as well as Senior Lecturer in Art History in NTU’s School of Humanities (2022-2025), Principal Research Fellow at the Centre for Asian Art and Design (2021-2022), and Deputy Director of NTU CCA Singapore (2019-2021). Previously, Oen-Lee worked to introduce modern and contemporary Asian art to the collections, exhibitions, and programmes at several US museums with significant historical collections of Asian Art: the Asian Art Museum of San Francisco, where she curated the first major museum exhibition of the Japanese ultra-technologist collective teamLab; the Crow Museum of Asian Art, and the Peabody Essex Museum. She has contributed to museum publications including at the Museum of Contemporary Art, Los Angeles and the Museum of Arts and Design, and was co-editor of Perspectives on Design Education from India and Asia (2025) and SEA: Contemporary Art in Southeast Asia (2022). Karin received her BA from Stanford University, MA from Christie’s New York, and PhD in the history, theory, and criticism of art and architecture from MIT.

Paul Lincoln is a Singaporean educator and artist. He received an MFA (Painting) from the Royal Melbourne Institute of Technology in 2004 and has interests spanning novel applications of technologies in art making to its impact on learning and education. He is currently Head of the Visual and Performing Arts at National Institute of Education and the Director of the NTU Museum at Nanyang Technological University.

Dr Joo Hong Low is a Singaporean art educator, author, and researcher with over two decades of leadership experience in arts education. He currently serves as a Senior Teaching Fellow at the National Institute of Education, Nanyang Technological University, where he mentors future art educators and contributes to national curriculum innovation. His earlier leadership roles include Master Specialist (Art) with Singapore’s Ministry of Education, Principal of Siglap Secondary School and Vice Principal at Dunman High School. Low holds a PhD in Art from Anglia Ruskin University, where his research focused on the autoethnographic picture book as a form of personal and pedagogical expression. His picture books, including Lemonade Sky, Mr.Goodchild, and The Visitor, have received local and international acclaim. A leading voice in the integration of AI in art education, he co-authored a 2024 journal article on transformative AI pedagogy and frequently shares case-based insights on ethical and creative AI use in classrooms.

Laura Miotto (Italy/Singapore) is an award-winning exhibition designer and educator with 30 years of experience in creative direction and architectural design. She specialises in spatial and sensorial strategies for museums, galleries, and public spaces.

Recent exhibitions include Nature Remixed at the Lee Kong Chian Natural History Museum (2024), the Diriyah Contemporary Art Biennale (2024, shortlisted for the Frame Awards), To Draw an Idea: Retracing the Designs of William Lim Associates – W Architects at the URA (2023), the Singapore Pavilion at the 59th Venice Biennale (2022), The Posthuman City (NTU CCA, 2020), and Guo Pei: Chinese Art and Couture (Asian Civilisations Museum, 2019), which won the Global Fine Art Award (Best Design, USA). Her major projects include the Borneo Cultures Museum (2022), Gallop Extension, Singapore Botanic Gardens (2021), Lee Kong Chian Natural History Museum (2015), and the Living Galleries, National Museum of Singapore. Recipient of the President’s Design Award Singapore (2010), Miotto is Associate Professor at Nanyang Technological University, where she co-directs the MA in Museum Studies and Curatorial Practices.

Hans Ulrich Obrist (b. 1968, Zurich, Switzerland) is Artistic Director of Serpentine in London, and Senior Advisor at LUMA Arles. Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville de Paris. Since his first show ‘World Soup (The Kitchen Show)’ in 1991, he has curated more than 350 exhibitions. In 2011 Obrist received the CCS Bard Award for Curatorial Excellence, in 2015 he was awarded the International Folkwang Prize, and in 2025 he received the Prix François Morellet. Obrist’s recent publications include 140 Ideas for Planet Earth (2021), Edouard Glissant: Archipelago (2021), James Lovelock: Ever Gaia (2023) Remember to Dream (2023), Worldbuilding: Gaming and Art in The Digital Age (2024) and A Life In Progress (2025).

Dr Ryan Shin is a Professor in the School of Art at the University of Arizona. He has co-edited several books, including Borderless: Global Narrative of Art Education (InSEA, 2022), Counternarratives from Asian American Art Educators (Routledge, 2023), Pedagogical Globalization (InSEA, 2017), and edited Convergence of Contemporary Art, Visual Culture, and Global Civic Engagement (IGI Global, 2016). A 2021 USSEA Kenneth Marantz Distinguished Fellow, his research focuses on Asian popular media and culture, critical theory and decolonization, global civic engagement, and new media and visual culture. He serves as Associate Editor of Studies in Art Education and has previously held the roles of Media Review Editor for the same journal and co-editor of Journal of Cultural Research in Art Education (2016–2018). His articles have appeared in numerous national and international publications, and he has authored book chapters and delivered presentations worldwide.

Yi Yinzi is a PhD candidate at the School of Art, Design and Media, Nanyang Technological University (NTU), where she is supported by the NTU Research Scholarship. Her research focuses on the concept of critical instruction in conceptual and performance practices in contemporary Southeast Asian art, aiming to decenter and reconfigure the dominance of Euro-American discourses on instruction. Prior to her doctoral studies, she worked as a human resource officer, gallery assistant, and independent curator. She holds a bachelor’s degree in English from Renmin University of China and a master’s degree in Art History and Arts Administration from the School of the Art Institute of Chicago. Her work has been published in the International Journal of Heritage Studies and the International Design and Art Journal, among others. She is currently developing a paper titled “Reality Behind a One-Way Mirror—The Reproduction of Institutional Instructions in Singapore Contemporary Art,” which examines the intersection of aesthetic opacity and social critique through the lens of instruction.