Arts Center at Governors Island in the fall of 2019. It returned to New York City species of plants, algae, and lichen known historically from the city but that no longer grow wild in any of the five boroughs. It was curated by Swiss Institute and was covered in Artforum, Fast Company, Art in America, and Hyperallergic. 10000 li, 100 billion kilowatt-hours (一万里，一千亿千瓦时) (2021) 10000 li, 100 billion kilowatt-hours was commissioned by the Power Station of Art for the 13th Shanghai Biennale. Installed within Columbia Circle in Shanghai, the work -- consisting of a large refrigeration unit and misting system -- re-created a fragment of the glaciers at the origin of the Yangtze River. The piece drew energy from the Shanghai electric grid (powered, in part, by the Three Gorges Dam on the Yangtze) and water from the Shanghai tap (also drawn from the Yangtze). With this work, Wang sought to connect these aspects of Shanghai's infrastructure back to their natural, hydrological origins, and to reveal the linkages between subtropical Shanghai and the distant glaciers of the Qinghai-Tibet plateau. Lake Tai (太湖) (2022) This show explored the ecological and cultural histories of Lake Tai, the large freshwater lake linked to the waterways of Shanghai. Installed in the former mansion of a turn-of-the-century industrialist -- whose businesses operated between Lake Tai and Shanghai -- the show reimagined traditional Chinese arts of the home, with many of the works made from organic wastes sourced from Lake Tai and the surrounding region. The show was organized with the support of Fondazione Prada. Mirror Moon (2023) Mirror Moon was an outdoor projection that simulated a view of the moon’s “far” side – the back side of the moon that is never visible from earth. The work imagined an enormous mirror installed behind the moon, reflecting its far side back to terrestrial viewers. The phases of the moon’s far side reverse those of the moon we see in the sky. Mirror Moon ran for 29 days, making visible the daily changes in phase of the moon’s far side over the course of a complete lunar cycle. The work was included in Elevation 1049 "Interstices," curated by Olympia Scarry and Neville Wakefield. Writing Wang has written extensively on art, architecture, technology and the environment. His writing has appeared in Artforum, Art in America, Texte zur Kunst, and Mousse. He published an essay on the “back breeding”