♦  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).