Mind and Murals: The Buddhist Cave Paintings of the Mogao Grottoes in China.” MillerComm Lecture at the Center for Advanced Studies, University of Illinois, 2015, November 9th. View online
. “Eugene Wang
To Move Mountains: Old Script and New Practice.” 14th Annual Heller Lecture at the Vancouver Art Gallery, 2015, March 17th . View online
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The Elegiac Cicada: Problems of Historical Interpretation of Yuan Painting.” Ars Orientalis 37 (2009): 176-194.
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Melodrama as Historical Understanding: The Making and the Unmaking of Communist History.” In Melodrama and Asian Cinema, , 73-100. Cambridge: Cambridge University Press, 1993.
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The Shadow Image in the Cave: Discourse on Icons.” In Early Medieval China: A Sourcebook, . New York: Columbia University Press, 2014.
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Of Text and Texture: The Cultural Relevance of Xu Bing's Art.” In Xu Bing: Language Lost, 7-15. Massachusetts College of Art, 1995.
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Cinematic Other and the Cultural Self?” Wide Angle XI, no. 2 (1989): 32-39.
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Ascend to Heaven or Stay in the Tomb? Paintings in the Mawangdui Tomb 1 and the Virtual Reality of Revival in Second-century B.C.E China.” In Mortality in Traditional Chinese Thought, , 37-84. Albany: SUNY Press, 2011.
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The Taming of the Shrew: Wang Hsi-Chih (303-361) and Calligraphic Gentrification in Seventh-century China.” In Character and Context, , 132-173. Princeton: Princeton University Art Museum, 1999.
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Pictorial Program in the Making of Monastic Space.” In Buddhist Monasticism in East Asia: Places of Practice , . London: Routledge, 2010.
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The Rhetoric of Mirror, Shadow and Moon: Samsara and the Problem of Self-Representation in China.” East-West Film Journal 5, no. 2 (1991): 69-92.
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Sound-Observer and Ways of Representing Presences.” In Presence and Images: Essays on the 'Presence' of the Prototype within the Image, , 259-278. Aldershot: Ashgate, 2005.
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Whereto Heaven? New Perspective on Mawangdui Paintings.” In Noble Tombs at Mawangdui: Art and Life of the Changsha Kingdom, Third century BCE - First century BE, 41-52. New York: China Institute, 2009.
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Transformation in Heterotopia: The Longhuta and Its Relief-Sculptures.” Orientations, no. June (1998): 32-40.
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The Disarrayed Hills Conceal an Old Monastery: Poetry/Painting Dynamics in Northern Song.” In The Rhetoric of Hiddenness in Traditional Chinese Culture, . Albany: SUNY Press, In Press.
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