1. China Pluperfect I. Epistemology of Past and Outside in Chinese Art, ISBN: 978-988-237-246-7 (hardcover), 192 pages. Hong Kong: The Chinese University Press, 2022.
2. China Pluperfect II. Practices of Past and Outside in Chinese Art, ISBN: 978-988-237-247-4 (hardcover), 242 pages. Hong Kong: The Chinese University Press, 2022.
3. (Forthcoming) Epistemology and Practices of Past and Outside in Chinese Art.
4. Hong Kong Soft Power. Art Practices in the Special Administrative Region 2005-2014. Hong Kong: The Chinese University Press, 2018.
5. I Like Hong Kong… Art and Deterritorialization. Hong Kong: The Chinese University Press, 2010.
6. Académiciens et Lettrés. Analyse comparative de la théorie picturale du 18e siècle en Chine et en Europe. Paris: Editions You Feng, 2010.
7. Pour et Contre l’Académie. Les traités de pratique picturale en Europe aux 17e et 18e siècle. Saarbrücken: Editions Universitaires Européennes, 2010.
8. In Between (translated by Wong Yan-tak). Hong Kong: The Chinese University Press, 2007.
9. Shen Zongqian : Jiezhou Xuehua bian, un traité de peinture chinoise du dix-huitième siècle. France: Presses Universitaires du Septentrion, Publication of the Ph.D. thesis, 1999.
1. ‘Some Tangible, some Forgotten: Art About borders in the Hong Kong SAR’, in Visual Culture Wars at the Borders of Contemporary China. Art, Design, Film, New Media and the Prospects of “Post-West” Contemporaneity, editors: Paul Gladston, Beccy Kennedy and Ming Turner. Pp 27-58. London: Palgrave-MacMillan, 2021.
2.‘From Antiquarianism to Chaos Script’ (从古物主义到草书), in ‘Writing Non-Writing: 2019 Hangzhou International Contemporary Calligraphy Festival, volume 2, theory’ (书非书: 2019 杭州国际现代书法艺术节, 卷二, 论文), p. 118-130, translated by Zhu Chunhang 朱春杭, published at the occasion of the exhibition ‘Writing Non-Writing: 2019 Hangzhou International Contemporary Calligraphy Festival (书·非书: 2019 杭州国际现代书法艺术节), 12 to 24 October 2019, Art Museum of China Academy of Art (218 Nanshan Road, Hangzhou, Zhejiang, China) 中國美術學院美術館(浙江省杭州市南山路218 號).
3.‘New Frontier: Three Painters from Shenzhen and their relation with the Hong Kong art market’, in Journal of Contemporary Painting, March 2022, Volume 7. Issue 1-2, p. 177-198 (ISSN 20526695 , ONLINE ISSN 20526709), editor: Rebecca Fortnum, Bristol UK & Willington US: Intellect Ltd.
4. ‘When is a landscape like a body?,’ in di’van. A Journal of Accounts, issue 9 (April 2021), p. 80-105. Editor: Alan Cruickshank, Sydney: University of New South Wales, Art & Design: 2021.
Di’van | A Journal of Accounts | School of Art & Design (unsw.edu.au)
5. ‘What art history for Hong Kong? 該如何為香港藝術撰史?, in HK Experience. HK Experiment, exhibition catalogue, Hong Kong Museum of Art.
6. ‘Two approaches to socially engaged art with the Hong Kong Filipino community,’ in Journal of Contemporary Chinese Art, p. 131-148, Volume 5 Numbers 2 & 3, ISSN: 20517041. Online ISSN: 2051705X. Bristol UK & Willington US: Intellect Ltd. 2018
7. ‘Hong Kong’s M+: a museum of visual culture at a time of political unrest’, in Journal of Contemporary Chinese Art, edited by Karen Smith, p. 83-99,. Volume 4, number 1, ISSN: 20517041. Online ISSN: 2051705X. Bristol UK & Willington US: Intellect Ltd. 2017.
8. ‘“Ink Art” as Strategy for Hong Kong Institutions’, in Journal for Cultural Research, Volume 21, Issue 1: Special issue on Art, Society and Contemporary China. Edited by Paul Gladston, published 13 February 2017, http://dx.doi.org/10.1080/14797585.2017.1281473, ISSN: 1479-7585 (Print) 1740-1666 (Online) Journal homepage: http://www.tandfonline.com/loi/rcuv20, Routledge, Taylor and Francis Group, 2017.
9. ‘Theory as Practice and Practice as Theory – Praxis and the PhD in art,’ in Proceedings of Symposium on Development of Arts Education – Arts Education for Tomorrow, p. 57-64, Hong Kong: Hong Kong Art School, 2017.
10. 自立与解除﹕獨立藝術空間的角色 ‘Emancipation and Dissensus: the Roles of Independent Art Spaces’, in Survival Strategies of Independent Art Spaces 獨立藝術空間的生存方式, Feng Boyi 馮博一, Fang Lihua 方立華 (ed.), p. 75-79, Shenzhen: He Xiangning museum 何香凝美術館, 2017.
11. ‘王冬龄——行为书法’, translated by Zhu Chunhang 朱春杭, in Poetry Calligraphy Painting 诗书画, edited by Han Bi 寒碧, volume 22, Winter 2016, p. 57-67, ISSN: 2095-3674. Beijing, Shishuhua Zazhishe 诗书画杂志社, 2016.
12. ‘Cunning intelligence – teachable and unteachable notions for higher education ’, in World Art, edited by George Lau, Daniel Rycroft and Veronica Sekules. London and New York: Routledge, September 2015. ISSN Print : 2150-0894 ISSN Online: 2150-0908. Online version (published 23 September 2015): http://www.tandfonline.com/doi/full/10.1080/21500894.2015.1088468
13. “King of Kowloon.” In Esther Lorenz and Li Shiqiao ed. Kowloon Cultural District – An Investigation into Spatial Capabilities in Hong Kong(Hong Kong: MCCM Creations, 2014), pp. 294-308.
14. “‘Conservative nativist’ Chinese art in Hong Kong and Mainland China.” In Paul Gladston ed.Journal of Contemporary Chinese Art. Volume 1, Issue 1. (Bristol UK & Willington US: Intellect Ltd., 2014), pp. 25-43.
15. “Introductory article”, “The ever-changing hybridity between global art practices.”, “Cute and cuddly (about Eastman Cheung).”, “Bizarre rhymes (about Joey Leung).”, “Labor of collage (about Tang Kwok-hin).” In Cordelia and Christoph Noe ed.Hong Kong Artists/ 20 Portraits (Nüremberg: Verlag für Moderne Kunst, 2012). pp. 10-17, 54-57, 122-125, 158-163.
16. “Nice painting’ et al. – different kinds of painting and related practices in Hong Kong” in Yishu: Journal of Contemporary Chinese Art, Vol.11, no.6, November/December 2012, pp. 15-33. (Republished in translation (translated by Zheng Jingjing) in the Chinese version of Yishu. Journal of Contemporary Chinese Art, Vol.12, no.1, March 2013
17. ‘‘No outside’ for socially-engaged art practices? – The reception of the aesthetic regime of art and its frequent malfunctions.” In Yishu: Journal of Contemporary Chinese Art, July/August 2013, Vol.12, no.4, pp. 16-32.
18. “Teaching Chinese Painting – A Problem of Words.” In Professor Sheng Kuan Chung ed. Teaching Asian Art: Content, Context, and Pedagogy(Reston: Department of Curriculum and Instruction, University of Houston, National Art Education Association, 2012), pp. 40-44.
19. “Period style as ‘life cycle’ in Euro-American and Chinese painting history.” In Paul Hockings ed.Visual Anthropology. London and New York: Routledge, 2012.
20. “Le Songe Creux– between literatitheory, Minimalism and Maximalism.” In George Lau, Daniel Rycroft and Veronica Sekules ed.World Art, VoL.1, no.1, January 2011, pp. 101-124.
21. “Two competing habitus among Hong Kong art practitioners.” In Visual Anthropology, Volume 26, Issue 2, Jan-March 2011, pp. 132-146
22. “Mining or undermining ‘Tradition.’ Shifts in the work of Tony Ng Kwun Lun.” In Yishu: Journal of Contemporary Chinese Art, Vol.10, no.4, July/August 2011,. pp. 6-20.
23. “Doxa and Episteme of the Image.” In James Elkins and Maja Naef ed. What is an Image?Volume 2 of the Stone Theory Seminars (University Park: Pennsylvania State University Press, 2012), pp. 119-121.
24. “‘Parisianisme’ and Local Cultures. Supra-national, national and infra-national cultures.” In Alice Arnold, Ann Kuo, Elizabeth Delacruz, and Michael Parsons ed. Globalization, Art and Education(Reston: National Art Education Association, 2009), pp. 35-40.
25. “Curators and translators as ‘passeurs’.” In Victor Lai Ming-hoi ed. Artists’ Studio in Hong Kong II(Hong Kong: Asia One Product & Publishing Limited, 2008), pp. 323-324.
26. “Damned if you do; damned if you don’t.” In James Elkins ed. Is Art History Global?(London and New York: Routledge, 2006), pp. 322-341.