"Huang Jing Yuan, Right to Write Tucked away in the left corner of the third floor of the Power Station of Art in Shanghai, between Francis Alÿs’s video Rehearsal I (1999–2001), in which a Volkswagen Beetle continues its Sisyphean exercise of ascending and descending a hill, and Wu Chi-Yu’s video Reading List (2017), in which the underbelly of transnational capitalism incisively rescales itself, is another “third world,” Huang Jing Yuan’s own hybrid gallery, Right to Write (2018). Her writing room, a co-writing space with three of her own paintings interspersed with calligraphic pieces by others, some close to calligraffitis, is situated between those two videographic loops of the modern, post or hyper. Set up like a construction site under construction, Huang’s work is — or inserts itself like — a ruggedly analog, analogically layered contrarian zone in between, where expressively inscribed surfaces are grafted, seemingly randomly, onto the inner dividers of the space such as PET sheets, semitransparent PC sheets, tall green curtains, long canvases, etc., turning the whole room into a half-closed exit, a passage out of the textual site into another sort, sortie, of third-worlding."