♦ One Take: Sahej Rahal’s Bashinda, frieze, issue 216 (January 2021).
♦ Notes on Class, Labor, and the Moving Image, catalogue essay, Not Working: Artistic Production and Matters of Class, Kunstverein München + Archive Books, Berlin (September 2020).
◊♦◊ Toward a Comparative Futurism 2.0 (2019).
♦ Toward a Comparative Futurism, catalogue essay, Cosmological Arrows, Bonniers Konsthall + Art and Theory Publishing, Stockholm (August 2019).
♦ National Identity Meets Digital Nativity: On the Works of Shabahang Tayyari, Canvas Magazine, No. 15, vol. 14 (July 2019).
♦ On the Installation Shots of Contemporary Art Exhibitions, catalogue essay, thing, aura, metadata. A poem on making., Parallel Platform, PhotoIreland Foundation, Dublin (July 2019).
♦ Shilpa Gupta and Zarina at Ishara Art Foundation, review, art–agenda (June 2019).
♦ On the Works of Morteza Ahmadvand, Ghazaleh Hedayat, and Sahand Hesamiyan, catalogue essays, The Spark Is You, Parasol Unit, London and Venice (May 2019).
♦ Ethics of Time Travel: Toward a Comparative Futurism, lecture, The Twilight Symposium: Science Fiction Inside Colonialism, e-flux journal + La Colonie, Paris (February 2019).
◊♦◊ CAD Conspiracy: Pattern Recognition in Contemporary Art, collaborative AI-assisted video-essay installation (2018–2021).
♦ Peer Pressuring the Past, Future-Fictioning the Present: On the Films of Bahar Noorizadeh, brochure text, Governing Machines and the Future of Futures, Mercer Union, Toronto (October 2018).
♦ “What Was Gulf Futurism” (with Ahamd Makia), in ZIGG: Superficial (October 2018).
♦ A Butterfly Effect Across the Chronosphere, lecture, Armen Avanessian & Enemies #30: Ethnofuturisms, Roter Salon, Volksbühne, Berlin (September 2018).
◊♦◊ Ethnofuturisms (Merve Verlag, 2018).
♦ Notes From the Attic: Displaying the Material History of the CIA, Cabinet, issue 65 (Fall 2017–Winter 2018).
♦ A Postcard from Tehran, Spike Art Quarterly, No. 57 (September 2018).
♦ Tehran Behind the Screen, Domus, No. 1027 (September 2018).
♦ Instrumental Xenotation, blog post (September 2017).
♦ The Politics of Surplus: An Affirmative Strategy of Resistance, coursework, Goldsmiths, University of London (August 2017).
♦ Objective Hyperreality vs. Hyperobjective Reality, blog post (July 2017).
♦ Despotic Ophidiophobia, blog post (July 2017).
♦ “Post-Capitalist Desire”, in The Fisher-Function (London: EGRESS, 2017).
♦ This Is the Sea, Isn’t It?, catalogue essay, This Is the Sea, artmonte-carlo, Monaco (April 2017).
♦ The Contract of Identification with Pain or A Child’s Instantaneous Desire for Aging, blog post (February 2017).
♦ 🚨💭, blog post (January 2017).
♦ The Exhibition Whisperer, Spike Art Quarterly, online (January 2017).
♦ The Aesthetics of Afterlife, blog post (November 2016).
♦ August 3, 2016: After Pak Sheung-Chuen, blog post (August 2016).
♦ Trans-Temporal Perspectives, PNYX (an autonomous imprint of Architectural Association, London), issue 24 (June 2016).
♦ An Alternative Entry in Five Moves, blog post (June 2016).