In White Gaze, artist and filmmaker Michelle Dizon works with an archive of National Geographic magazines to explore the mechanics of the “white gaze.” Through a process of poetic subtraction, Dizon works with only the language on the original page to write a decolonial counterpoint to a way of imaging the world centered on the West. Her images lay the white gaze bare, unearth a genealogy of a racist visuality, and work in the gap between image and text to write against the grain of imperialist narratives. Artist and writer Việt Lê uses Dizon’s images from White Gaze as a starting point for his poetic exploration of the legacies of war and imperialism. Lê’s text performs a dual work, both contextualizing Dizon’s images in the history of empire and unleashing a rhythmic play with language, both visually and aurally, to cut to the core of how meaning is produced. His text speaks to absence as much as presence with a story of war and empire told in fragments, phrases, words hanging on the page—an index of both the trauma and resistance experienced by those subjected to the violence of empire.

This title is included in “Holding Space: A Shortlist Exploring the Complexity of Asian American Identity”. Publications that address the complexities of the Asian American and Asian diasporic experience in the field of contemporary art are few and far between. As an organization based in the U.S. and serving a diasporic Asian community, we have experienced firsthand both the desire for knowledge in this space as well as the frustration due to its paucity. “​​Holding Space” is a shortlist composed of a selection of publications housed at our reading room that begins to redress this scarcity. This list is by no means exhaustive; rather, it represents the start of a continued commitment to fill this gap.