Perhaps Asian Contemporary Art Week, (ACAW) and The Taste of Others are the two projects that spell out your name in caps.  You create projects that may conclude organically when they have to, and in the meantime you sustain them with great dedication. 

I think this is a personal committment is a key component for both projects. For me, this is a process of unlearning or making sense of all the “dead information” that one accumulates through conventional study. The task of maturity is to navigate through that jungle. I am not interested in positioning expertise, rather in creating both a personal and professional platform for inquiry and ways of confronting inertia and ignorance about very compelling, unexplored subjects in contemporary art practice and art history.

At the end of each ACAW edition, essentially a biennial event involving interaction with hundreds of artists and dozens of arts institutions, I vow never to do it again. Yet the very intense exercise in scoping, identifying, listening, framing, and channeling of artistic activity, which ACAW entails is a marathon I love to run. It is both exhausting and invigorating with many stones still left unturned.

History, people, communities, creativity, conflict, entropy, and psychological and philosophical exploration are ongoing dimensions in the world. Which is why there seems to be no end to the projects. With every round, I arrive to new beginnings and approaches.