A New Middle Kingdom: Painting and Cultural Politics in Late Chosŏn Korea (1700–1850). Seattle: University of Washington Press, 2018.
A Companion to Korean Art History. Chichester, UK: Jon Wiley & Sons, 2020.
Art by the Book: Painting Manuals and the Leisure Life in Late Ming China (1550–1644). Seattle & London: University of Washington Press, 2012.
Keeping It Real!: Korean Artists in the Age of Multi-Media Representation. Seoul: Workroom, 2012.
“The Artist was Present: Documentation, Reconstruction, and Interpretation in Chinese Performance Art,” Third Text 30, 1-2 (2016): 100–116.
“The Anxiety of Influence: (Mis)reading Chinese Art in Late Chosŏn Korea (1650–1800)," Art Bulletin 97, no. 3 (September 2015): 301–322.
“Merging to Emerge: Elite Insecurity, Collective Supports, and Paratextual Anthologies in Early Modern China,” East Asian Publishing and Society 5, no. 1 (2015): 1–31.
“Classic or Cliché? The Mustard Seed Garden Manual of Painting in Modern Context,” Orientations 46, no. 5 (2014): 96–102.
“Koreans are White? Art, Nation, and Post-Globalization,” Third Text 27, no. 4 (2013): 510-524.
“似曾相识燕归来—20世纪80年代与21世纪头10年中国艺术 [Déjà vu all over again? Parallels Between Chinese Art of the 1980s and 2010s],” 美术月刊 (June 2013): 62–65.
“The Art of Being Artistic: Painting Manuals of Late Ming China (1550–1644) and the Negotiation of Taste.” Artibus Asiae 71, no.3 (2011): 5–54.
“Max Loehr, James Cahill, and the Flying Dragon: A Moment in Chinese Art History,” (co-authored with James Cahill) Orientations (September 2011): 99–104.
“The Cult of Origin: Identity Politics and Cultural Capital in Contemporary Chinese Art,” Yishu: Journal of Contemporary Chinese Art 9, no. 4 (2010): 63–72.
“Instrument as Device: Representation of the Qin Zither in Late Ming Visual Culture.” Music in Art: International Journal of Music Iconography 33, no.1/2 (2008): 136–148.
“The Publisher’s Dilemma: The Cultural Discourse of Book Illustration in Late Ming China.” Chinese Historical Review 26, no.1 (Spring, 2008): 25–49.
“Nostalgia for Homeland and Lamentation over Lost Power: Oxherd and Weaver in Dokhung-ni.” Orientations 35, no.5 (July 2004): 32–38.
“Real History? Rethinking True-view Landscape and Genre Paintings of Late Chosŏn Korea,” Reconsidering Korean Art: Identity and Aesthetics (Conference Proceedings, Keimyung University, 2018), 131–158.
“Rescuing Art History from the Nation: Late Chosŏn between Europe and Edo Japan, Pathways to Korean Art History (Conference Proceedings, UCLA, 2017), 38–52.
“Print as Nexus: Art, Print, and Cultural Discourse in Early Modern China,” in A Companion to Chinese Art. eds. Martin Powers and Katherine Tsiang (Malden, MA: Wiley-Blackwell Press, 2016), 73–90.
“What is “Korean” about Contemporary Korean Art? Cultural Differentiation and the Rhetoric of Identity.” KSAA Biennial Conference Proceedings, November 2011
“Hong-seon Jang,” Catalogue Essay. David Smith Gallery. 2012.
“De-influencing Late Chosŏn (1700–1850): Open and Closed Discourses on Early Modern Korean Art.” Global Korea: Old and New (Proceedings of the Sixth Biennial Conference of KSAA, July, 2009): 27–38.
“Photography in Korea,” in Encyclopedia of Twentieth-century Photography. New York: Routledge, 2005.