Dr. Alice Ming Wai Jim, PhD

Research Chair Biography

As Concordia University Research Chair (CURC, Tier 1) in Critical Curatorial Studies and Decolonizing Art Institutions, Dr Alice Ming Wai Jim and her team will examine the impact of recent social justice movements, decolonizing methodologies, and the new field of critical race museology on the role of the curator. Professor of Contemporary Art in the Department of Art History and previously Tier 2 CURC in Ethnocultural Art Histories, 2017–2022, Dr Jim has galvanized a new generation of students and scholars in the study of ethnocultural art histories that extends to curatorial studies and critical race museology. Her research on diasporic art in Canada and contemporary Asian art has generated new dialogues within and between the fields of ethnocultural and global art histories, critical race theory, media arts, and curatorial studies. Her current SSHRC-funded curated oral histories project, Afrofuturism and Black Lives Matter in the Canadian art scene, is part of a larger examination of the convergence of Indigenous and Afro-Asian futurism in contemporary art. Prior to her appointment at Concordia, Dr Jim was Curator of the Vancouver International Centre for Contemporary Asian Art, Centre A where she curated the group exhibition and symposium Redress Express: Chinese Restaurants and the Head Tax Issue in Canadian Art about the era before and during the Chinese Exclusion Act (1923–1947) which was passed 100 years ago this year (2023). She also convened the international 2004 conference and exhibition Mutations<>Connections: Cultural (Ex)Changes in Asian Diasporas, whose 20th anniversary will be marked and revisited as part of the new CURC’s research activities to interrogate global Asian diasporic art and curatorial developments. Dr Jim is also founding co-editor-in-chief of the international journal Asian Diasporic Visual Cultures and the Americas (ADVA), published by Brill (Leiden, NL) in association with the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art (Concordia University) and the Asian/Pacific/American Institute (New York University). She is a member of the College of New Scholars of the Royal Society of Canada and recipient in 2022 of UAAC’s inaugural Award for the advancement of equity, diversity, inclusion, and accessibility. https://www.concordia.ca/finearts/art-history/faculty.html?fpid=alice-ming-wai-jim

Extended Biography

Since 2000, Dr Jim has curated exhibitions of over sixty artists of colour and Indigenous artists and organized major scholarly events within academic settings and for the broader arts community in Canada and internationally. Co-investigator of the SSHRC and FQRSC-funded Trans-Atlantic Platform: Social Innovation project, Worlding Public Cultures (2020–2023), she organized a team of Montreal faculty and students from Concordia, UQAM and UdM to participate in international academies in Ottawa, Amsterdam, London, Heidelberg, and Montreal, convening WPC 2023, Worlding Tiohtià:ke/ Montreal: Bridging Knowledges, Practices, and Beings to critically examine the ways in which global, transnational and transcultural public narratives are being represented in universities, museums, and other spaces of art and culture. 

She is also a collaborator on the SSHRC Partnership Grant project, Thinking Through the Museum: A Partnership Approach to Curating Difficult Knowledge in Public (2021–2028), in the Critical Race Museology Cluster. 

In 2022, Jim co-organized the Pacific Basin Institute’s Decolonizing Art and Curatorial Practice Lecture Series and was a core member of Rutgers University’s’ Decolonizing Curatorial and Museum Studies and Public Humanities Project. A core scholar of the NYU Global Asia/Pacific Art Exchange (GAX) since 2014, she co-convened GAX 2019 Tiohtiá:ke (Montreal): Asian Indigenous Relations in Contemporary Art, which brought together sixty Asian diasporic and Indigenous researchers, artists, and students from Samoa, Hawaii, Australia, across Canada, and the US to investigate the topic of curating hospitality and care discourses in contemporary art.

In 2018, she coedited the special issue “What is Critical Curating?” for RACAR with Dr Marie Fraser. In 2019, Jim was a visiting professor for Summer Institute 2019: Future Commons at Tai Kwun Contemporary in Hong Kong and co-chair of the Artistic Committee (Exhibition) for ISEA2020 Montreal: Why Sentience? (International Symposium on Electronic Art).

Jim founded EAHR (Ethnocultural Art Histories Research Group) in 2011 and is founding member of the EAHR|Media Working Group 2019-2022, and the South South: Critiques of Global South Working Group 2022-2024, both in affiliation with the Centre for Interdisciplinary Studies in Society and Culture at Concordia. Jim is also Adjunct Professor in Graduate Studies at OCAD University, Toronto (2021-2024).

Jim is recipient of a 2022 Academic Leadership Award and was inducted into the 2020 Provost Circle of Distinction, Concordia University.

Alice (she/her) is a second-generation Anglophone Chinese Canadian racialized visible minority born and raised in Tiohtiá:ke/Montreal.

Land Acknowledgement

I acknowledge that Concordia Universityis located on unceded Indigenous lands.The Kanien’kehá:ka Nation isrecognized as the custodians of the lands and waters we now callMontreal. Tiohtiá:ke (Montreal)is historically known as a gatheringplace for many First Nations. Today, it is home to a diversepopulation of Indigenous and other peoples. We respect thecontinued connections with the past, present and future in ourongoing relationships with Indigenous and other peoples within theMontreal community. 

Je reconnais que l’Université Concordia est située en territoireautochtone non cédé et que la nation Kanien’kehá:ka est la gardiennedes terres et des eaux formant aujourd’hui Montréal. Le nom d’origine dece territoire est Tiohtiá:ke. Celui-ci est historiquement connu commeun lieu de rassemblement pour de nombreuses Premières Nations.Aujourd’hui, la ville accueille une populationdiversifiée d’Autochtones et de gens d’autres origines. L’UniversitéConcordia respecte les liens passés, actuels et futurs desPremières Nations avec ces terres et en tient compte dans sesrelations continues avec les Autochtones et les autres membres dela communauté montréalaise.

Book Chapters

• Reprint: “Articulating Spaces of Representation: Contemporary Black Women Artists in Canada” (2004). Towards an African Canadian Art History: Art, Memory, and Resistance. Ed. Charmaine Nelson. Toronto: Captus Press, 2018. 338-350.
• “When Worlds Meet: Howie Tsui’s Retainers of Anarchy.” Howie Tsui. Vancouver: Vancouver Art Gallery; Victoria, BC: Art Gallery of Greater Victoria, 2017. 10–31.
• “Maraya’s Sisyphean Cart: Twinned Visions of Vancouver and Dubai.” Narratives Unfolding: National Art Histories in an Unfinished World. Ed. Martha Langford. Montreal; Kingston: McGill-Queen's University Press, 2017. 249–270, notes 385–386.
• “Fashioning Race, Gender and Desire: Cheryl Sim’s Fitting Room & Mary Sui Yee Wong’s Yellow Apparel.” Desire/Change: Contemporary Feminist Art in Canada. Ed. Heather Davis. Winnipeg: Mentoring Artists for Women’s Art (MAWA); Montreal: McGill-Queen's University Press, 2017. 77-95.
• Reprint: “Redress Express: Chinese Restaurants and the Head Tax Issue in Canadian Art” (2007); Encountering Strangers Within: Race, Diaspora, and Nation in Asian Canada. Ed. Roland Sintos Coloma and Gordon Pon. Toronto: University of Toronto Press, 2017. 129–144.

Encyclopedia Entries

• “Tetsu Okuhara.” Grove Dictionary of Art’s 2016 update oncontemporary art, guided by Dr. Judith Rodenbeck. New York: Oxford University Press, 2016.http://www.oxfordartonline.com/.
• "Transculturalism in Asian Diasporic Art." Grove Art Online (1998), digital version of The Dictionary of Art (1996), ed. Christine Kuan. First update to focus on Asian contemporary art, guest ed. Melissa Chiu. New York: Oxford University Press, 2005.
  
• "China's New Art, Post-89 (Hong Kong, 1993) and China Avant-Garde (Berlin, 1993)" (pp. 95-96), "Art Galleries (Private, Commercial)" (with Meg Maggio, p. 22), "chinese-art.com" (p. 97-98), "Chang Tsong-zung" (pp. 74-75), "Xu Zhen" (p. 688), and "Xu Hong" (pp. 684-685). Encyclopedia of Contemporary Chinese Culture. Ed. Edward L. Davis, with Ned Edwards and Francesca Dal Lago. London, UK: Routledge, 2005. 6 pages.
• "Screen Structures: Media Art in Hong Kong." Hong Kong Yearbook 2004. Vol.1. Ed. Harold Mok. Hong Kong: Hong Kong Arts Development Council, 2004. 150-158, 144-149. English & trans. Chinese.

Journal Articles

·      “Introduction,” (with co-guesteditor Marie Fraser). RACAR, 43:2 (Fall 2018): 5-9, special issue on“What is Critical Curating?” English; French translation. Issue explores discourses and practices of curating,particularly critical curating, to probe the ethical, social, and politicalissues currently driving, or continuing to impinge on, current scholarship andexhibition-making. Issue features unprecedented amount of content to journal bycontributors of colour.

·      "Lee Wen: PerformingYellow." Afterall 46 (Autumn/Winter 2018): 7-13. Available online:https://www.afterall.org/journal/issue.46/lee.

·      « Miseen perspective chiasmique des histoires de l’art planétaire au Canada. » Muséologies, 9:1 (2018): 97-111.

·      “Diyan Achjadi and Alisi Telengut:Animate,” Asian Diasporic Visual Cultures and the Americas 4:1-2 (Spring 2018): 194-199.

·     With Susan Cahill,Kristy A. Holmes, Heather Igloliorte, Erin Morton, Charmaine A. Nelson, CheliNighttraveller, AJ Ripley, Carla Taunton, and Tamara Vukov. “Killjoys, AcademicCitizenship, and the Politics of Getting Along.” Topia: Canadian Journal ofCultural Studies 38 (Fall 2017): 187–208.

Selected Articles and Exhibition Reviews in Magazines

"Lee Wen: Performing Yellow." Afterall 46 (Autumn/Winter 2018) available online: https://www.afterall.org/journal/issue.46/lee

Exhibition: “RoCH Redux.” Exhibition Reviews Annual 2016–2017: A Selection of the Best Entries from the Third International Awards for Art Criticism. Shanghai: International Awards for Art Criticism Ltd. (IAAC), in partnership with the Shanghai Twenty-First Century Minsheng Art Museum, Shanghai and the Royal College of Art, London, 2017. 46–50 (English and Chinese translation).

“RoCH Redux [Susan Pui San Lok’s RoCH Fansand Legends].” Yishu: Journal ofContemporary Chinese Art 15:4 (July/August 2016): 65-70.http://yishu-online.com/browse-articles/?849.

 “NoLAB: Cao FEI MAP Office: A Post-KatrinaSocial Experiment.” Magazineélectronique du CIAC (Centreinternational d’art contemporain de Montréal)/CIAC’s Electronic Magazine,40 (April 2013) http://magazine.ciac.ca/en/summary.html,http://magazine.ciac.ca/en/article1.html#_ftn1.

“The Politics of Indignation: Art,Activism and Ai Weiwei/ La politique de l’indignation : Ai Weiwei, l’art etl’activisme.” esse arts opinions 77(Winter 2013) 46-54. Englishand trans. French.

"The Different Worlds of CaoFei." Yishu: Journal of ContemporaryChinese Art 11:3 (May/June 2012) 82-90. Reprinted for the exhibition"Cao Fei: Simulus" at Surrey Art Gallery as part of Yellow Signal: New Media in China,available online: http://www.surrey.ca/files/Cao_Fei_Simulus_brochure.pdf.

"Asian Pavilions: La Biennale diVenezia 2011" [review]. Ciel Variable (CV Photo) 90 (February-May 2012) 56-59, English andtrans. French.

"Asian Canadian Art Matters." Diaaalogue Perspectives column, Asia ArtArchive Newsletter (July 2010). 3,000 words.

“Conference Report: 2009 CASA Conferenceof EACand SAC.” Inaugural issue of CASA newsletter, CASA Bulletin de l’ACEA 1:1 (Spring 2010) 3-6, 14. English andtrans. French). Available at http://canadianasianstudies.concordia.ca/pdf/CASABulletin2010.pdf.

"APT5: Aesthetic Politics and BuiltForm." Broadsheet [Sydney:Contemporary Art Centre of South Australia], 36:1 (2007) 42-43.

“Container Culture: The VancouverContainer.” Leonardo Journal of theInternationalSociety for the Arts, Sciences and Technology 39:4 (2006)297-298.

"Chih-Chien Wang." CV Ciel Variable 71 (March 2006) 13-14.

"Interview with Hou Hanru on the 2005 Guangzhou Triennale." Yishu: Journal of Contemporary Chinese Art 5:1 (March 2006) 71-78. http://yishu-online.com/wp-content/uploads/mm-products_issues/uploads/yishu_16.pdf

“Mutations<>Connections: Cultural(Ex)Changes in Asian Diasporas – An Introduction,” Yishu: Journal of Contemporary Chinese Art 3:3 (September 2004)32-33. Issue publishes nine papers presented at Mutations<>ConnectionsSymposium, June 2004.

“Interview with Young Hay,” Yishu:Journal of Contemporary Chinese Art 3:2 (June 2004) 73-82.

"Tourismand Contemporary Art in Shanghai." Parachute 114(April-June 2004) 80-97.

"Synchronize:Time-based Art from China and Germany." Art Asia Pacific 35(July- September 2002) 95.

"NotesFrom Hong Kong," Flash Art International 223 (March/April2002) 90-91.

"Hill(Scape):Video Screening, Performance and Installation of Works by GaryHill." Hong Kong Cultural Centre & Hong Kong Space Museum,Parachute, Magazine of Contemporary Art 103 (July-September 2001)para-para insert, 6.

"HongKong Artists at the Venice Biennial." PS Magazine [Para/SiteArt Space, Hong Kong] 15 (Autumn 2001) 0-3. Reprint of "A Slice of Sky andCoffee too," feature article, South China Morning Post, Friday8 June 2001, 2.

"InsideOut: New Chinese Art, Asia Society & P.S. 1 Contemporary ArtCenter." Parachute, Magazine of Contemporary Art, 95(July-September 1999) 48-49.

“De Balancier and Louez-Moi: an Exhibit byCui YongJin and Mei-Kuei Feu” and “Visual Undertakings: Recent Exhibits inCentralCanada,” Rice Paper 5:1 (Winter 1999)13; 31.

"Reading East to West," Criticalcommentaryon “Jiangnan: Modern and Contemporary Art from South of the YangziRiver,” Mix, Magazine of Artist-Run Culture 24:1(Summer 1998)36-37.

“Belonging:Ellen Pau, Yau Ching,Laiwan, and Xiu Li Young at Galerie Optica, Montreal,” FUSE, A Magazineabout Issues of Art andCulture20:4 (November 1997) 39-40.

"Retaining Desire: Buseje Bailey andVita Plumeat Galerie Observatoire 4, Montreal.” Parachute87(July-September 1997) 48-50.

"FictionalLetters," Review of"She Takes His Bed," Mary Sui Yee Wong,Gallery 101, Ottawa, ETCMontréal, Revuede l'art actuel, 40 (November-December 1997) 46-47.

“‘La vie, ce n'est pas une fleurbleue...’ Homage to the BeijingSpring Movement: Lau TinYum at Galerie Observatoire 4.” CMagazine,International Contemporary Art 55 (November 1997) 47.

Conference Proceedings

(Published in Japanese) “Discussion with Discussants Alice Ming Wai Jim and Anna KazumiStahl, and Speakers in Session 2: Trajectories of Asian Diasporic Scholarshipand Practice.” Global Art and Diasporic Art inJapan and Asia. Tokyo:Mori Art Museum, 2016. 116–134.

 “Technologies of Self-Fashioning: VirtualEthnicities in New Media Art.” ISEA 2015:Proceedings of the 21^st International Symposium on Electronic Art. No.242.Vancouver: SFU, 2015. 8 pages. http://isea2015.org/proceeding/submissions/ISEA2015_submission_242.pdf. 

Exhibition Catalogues

• . Ed. Alice Ming Wai Jim, Taralyn Boyden, Jessica Carroll, Katerina Lagassé, andCharles P.T. Leonard with contributing editors Anaïs McNicoll-Castro Lopes,Alannah Clamp, Béatrice Cloutier-Trépanier, Andromachi Gagas, CharlotteJacob-Maguire, Allison Smith and Eliana Stratica Mihail / with essays byTaralyn Boyden, Anaïs Castro, Alannah Clamp, Béatrice Cloutier-Trépanier,Madeline Coleman, Andromachi Gagas, Charlotte Jacob-Maguire, Katerina Lagassé,Charles P.T. Leonard, Allison Smith and Eliana Stratica Mihail. Montreal:Department of Art History, Concordia University, 2011. 9-11.
• "Rearranging Desires: Curating the 'Other' Within." Rearranging Desires. Montreal: The Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art; Faculty of Fine Arts Gallery, 2008. 1-8. Editor and essay contributor.
• "All Aboard the Redress Express." Redress Express. Ed. Alice Ming Wai Jim. Catalogue accompanying Redress Express: Chinese Restaurants and the Head Tax Issue in Contemporary Art exhibition. Vancouver: Vancouver Centre for Contemporary Asian Art (Centre A), 2007. 1-5.
• "Playing Devil's Advocate." Amy Cheung: Devil's Advocate. Nürnberg: Verlag für moderne Kunst Nürnberg, 2007. 8-13.
  
• Editor and essay contributor (artist book). Excerpts published simultaneously as: (1) "Amy Cheung: Playing Devil's Advocate." Star Fairy: Hong Kong in Venice. Ed. Norman J. Ford. Hong Kong Arts Development Council; 52nd Venice Biennale, 2007. 19-34. English & trans. Chinese and Italian. (2) "Amy Cheung: Sirens for Hong Kong." Reversing Horizons: Artist Reflections of the Hong Kong Handover 10th Anniversary. Shanghai: Shanghai Museum of Contemporary Art, 2007. English & trans. Chinese.
• "Shifting Space." Gu Xiong, Ben Reeves and Patrick Mahon: Shifting Space. Chonqing: Museum of Sichuan Fine Arts Institute, 2005. 6pp, English & trans. Chinese.
• "Ramona Ramlochand: White Desert." Le Mois de la photo 2005. Ed. Martha Langford. Montreal: McGill-Queen's University Press, 2005. 53-56.
• "Neighbourhood." Neighbourhood. Ed. Alice Ming Wai Jim and Portia Priegert. Vancouver: Vancouver International Centre for Contemporary Asian Art, 2005.
• "Afterword: Kim Huynh, Inflected Signs." Charlie Don't Surf: 4 Vietnamese American Artists. Ed. Alice Ming Wai Jim and Viet Le. Vancouver: Vancouver International Centre for Contemporary Asian Art, 2005. 43-47.
• Editor and essay contributor. "A Discourse of Fear." Samina Mansuri: DARR: 37 Conversations. Vancouver: Vancouver International Centre for Contemporary Asian Art, 2004. 2-4. Essay published online as part of The New Republics Digital Archive (2008).
• Para/Site: Open Work. Ed. David Ho Yeung Chan and Alice Ming Wai Jim. Hong Kong: Para/Site Art Space; Vancouver: Vancouver International Centre for Contemporary Asian Art, 2004.
• "Chez Soi." Mei-Kuei Feu: Zone flottante. Ed. Alice Ming Wai Jim. Vancouver: Vancouver International Centre for Contemporary Asian Art, 2004. 4-6.
• "Informal Residency" and "In Conversation with Gailan Ngan." Gailan Ngan: Informal Residency. Ed. Alice Ming Wai Jim. Vancouver: Vancouver International Centre for Contemporary Asian Art, 2004.
• "A 'Walking Knowledge' of the City and Other Considerations: Works by Sara Wong." Moving Violations: An Exhibition of the Urban and the Image. Ed. Pamela Kember. Hong Kong: Art Asia Archive, 2002. 12-14, 15-17, English & trans. Chinese.
• "Recycling Cinema and other works by Ellen Pau." Venice Hong Kong: Magic at Street Level. Ed. Johnson Chang. Hong Kong: Hong Kong Arts Development Council; 49th Venice Biennale, 2001. 42-51. English & trans. Chinese and Italian.
• "Dialogue and Difference." Traversals. Ed. Norman Jackson Ford and Alice Ming Wai Jim. Hong Kong: Map Book Publishers, 2001. 15-22.

Selected Online Publications (Previous to June 2006)

• "On Stories: Introducing this Issue on Contemporary Art in Hong Kong" (co-writer with Norman Jackson Ford); and "Screen Structures: Relating to Hong Kong Media Art." chinese-art.com 5:2 (April 2003), special issue on Hong Kong contemporary art. Ed. Norman Jackson Ford and Alice Ming Wai Jim. [off line; consult Asia Art Archive, Hong Kong].
• "Mary Wong's Well Wishers: A Narration of Migratory Subjectivity"; "Black Women Artists in Canada: the 1989 Exhibition Black Wimmin: When and Where We Enter"; "Du Balancier and Louez-Moi: An Exhibit by Cui Yong Jin and Mei-Kuei Feu"; "Two Fictional Letters"; "Vita Plume and Buseje Bailey." Women Artists in Canada, an Industry Canada website, first edition 1996, second edition 2000.

Undergraduate Courses

• ARTH 379 Postcolonial Theory and Art - Special Topic: Migration and Mobility in Contemporary Art
• ARTH 389 Issues in Ethnocultural Art Histories - Special Topic: Race, Citizenship and Art in Canada
• ARTH 358 Studies in the History of Media Art - Special Topic: Fake News & Contemporary Art
• ARTH 358 Studies in the History of Media Art - Special Topic: Screen-based Art and News Media
• ARTH 368 Studies in Contemporary Art and Architecture - Special Topic: The Packaging of Contemporary Art
• ARTH 358 Studies in the History of Media Art - Special Topic: Screen Culture
• ARTH 358 Studies in the History of Media Art - Special Topic: Remix Culture
• ARTH 450 Advanced Undergraduate Seminar - Special Topic: Contemporary Asian Art in a Global Context
• ARTH 353 Technology and Contemporary Art

Graduate Seminars

• ARTH 809 Interuniversity Doctoral Program Seminar - Methodologies - Global Art Histories (Winter 2022)
• ARTH 615 Aspects of Postcolonial Theory in Art and Art History - Afrofuturism in Canadian Art
• ARTH 615 Aspects of Postcolonial Theory in Art and Art History - The Art of Migration and Diaspora in Canada
• ARTH 642 Aspects of Media and New Media -  Networked Art Practices
• ARTH 615 Aspects of Postcolonial Theory in Art and Art History - Historiography of Contemporary Asian Art and Asian Diasporic Art
• ARTH 648 Aspects of Museum Studies: Theories - Contemporary Exhibition Practice in the International Arena
• ARTH 648 Aspects of Museum and Curatorial Studies: International Art Exhibitions (Fall 2019)
• ARTH 649 Aspects of Museum Studies: Practice - Curating the 'Other' (Fall 2008)/Contemporary Exhibition Practice in the International Arena (BNL MTL) (Fall 2014)/ Curating Global Asian Indigenous (Fall 2018, Fall 2022)

Graduate Supervision

2021-2023

SSHRC funded research project: Afrofuturism & Black Lives Matter in the Canadian Art Scene

Conferences & Lectures

Conference Organizer / Workshops or Workgroups Organized(Principal Academic Convenor):

Conference co-convener and local host organizer. GAX 2019 Tiohtiá:ke (Montreal): Asian Indigenous Relations in Contemporary Art (working group sessions, public talks and 2-day, public conference. GAX 2019 in Tiohtiá:ke (Montreal), June 10-16, Montreal, Canada.

• In conversation with keynote speaker, Skawennati, "Towards Thrivance." 

Organized as part of my SSHRC Connections Team Grant, 2016–2017:

• (Chair) “CANADA 150: Asian Canadians and Visual Culture in National Celebrations,” CAA Affiliate Society Diasporic Asian Art Network (DAAN) Panel. College Art Association (CAA) Annual Conference, New York, NY, February 15–18, 2017.
• (Organizer/Convenor) “Asian Canadians in Visual Culture” Conference and Workshop, Concordia University, March 2–4, 2017.
• (Principal Investigator) “Rethinking Canada 150: Networks and Nodes in Asian Canadian Visual Culture,” Korean Cultural Centre, Canada Cuncil Art Bank, and National Gallery of Canada, Ottawa, ON, April 12–13, 2017.

·       Invited: Member of the local steering committee ofHexagram(Concordia/UQAM), Media@McGill and Université de Montréal to host RE:2015– 10thAnniversary International Conferenceon the Histories of Media Art, Science andTechnology onthe theme of Re-Create - histories, theories and methodsof research-creationin media arts and sciences, in 2015.

·       Invited:Encuentro2014 Work Group Co-Organizer(withBeatrice Glow, New York University and Lok Siu, UC Berkeley).“PerformingAsian/Americas: Converging Movements.” MANIFEST!ChoreographingSocial Movements in the Americas, 9^th Encuentro of The Hemispheric Institute of Performanceand Politics, ConcordiaUniversity, Montreal, June 21-28, 2014.

·       ContemporaryArt and the Inter-Asian Imaginary Workshop,co-directed with Henry Tsang(emily carr university of art design), Inter-AsianConnections IV:Istanbul, Koç University, Istanbul, Turkey, October 2-5,2013.Co-organized and co-sponsored by the SocialScience Research Council(SSRC), YaleUniversity, the National University of Singapore (NUS), the HongKong Institutefor the Humanities and Social Sciences (HKIHSS) at the Universityof Hong Kong,Göttingen University and Koç University 

·       http://www.ssrc.org/programs/pages/interasia-program/inter-asian-connections-iv-workshop-contemporary-art-and-the-inter-asian-imaginary/.

·       Performance of Memory: The Workof Ed Pien andHowie Tsui, inter-universityroundtable discussion forum (study day) withpresenter Christine Conley(University of Ottawa), and discussants ThomasLamarre (East Asian Studies/ArtHistory and Communications, McGill), MatthewPenney (History, Concordia),Joanne Hui (PhD Humanities student, Concordia) andAlice Ming Wai Jim, withfaculty and graduate students in attendance.Co-sponsored by The Gail andStephen A. Jarislowsky Institute for Studies inCanadian Art and the Departmentof Art History, Concordia University, March 25,2010. http://howietsui.com/pdf/concordiaprogram.pdf.

·       Can-Asian, Eh? Diaspora,Indigeneity and theTranspacific,annual international conference of the East Asian and SouthAsian Councils – CanadianAsian Studies Association (CASA), Vancouver, BC,October 8-11, 2009, with 140delegates in attendance. Also Member of Programmingand Can-Asian SteeringCommittees. 2009 ConferenceReport published in inauguralissue of CASA Bulletin de l’ACEA 1:1(Spring 2010) 3-6, 14. http://canadianasianstudies.concordia.ca/pdf/CASABulletin2010.pdf.

·       Comics, Japanese Popular CultureandContemporary Art,interdisciplinary conference panel of six speakers withpresenter ChristineConley (University of Ottawa), and discussants ThomasLamarre (East AsianStudies/Art History and Communications, McGill), MatthewPenney (History,Concordia), Joanne Hui (PhD Humanities student, Concordia),Howie Tsui (artist),Concordia University, March 13, 2009. 

·       Rearranging Desires: AboutCulturally-SpecificWork,national symposium of 19 speakers organized in conjunctionwith Rearranging Desires: Curating the “Other”Within exhibition,Concordia University, Montreal, October 18, 2008.

·       Redress Express: CurrentDirections in AsianCanadian Art,national symposium of 27 speakers organized in conjunctionwith Redress Express: Chinese Restaurants and theHead Tax Issue inContemporary Art exhibition, Vancouver International Centre forContemporary Asian Art (Centre A), Vancouver, August3, 2007.

·       Mutations<>Connections:Cultural(Ex)Changes in Asian Diasporas, international symposiumof 25 speakers, in conjunction with Mutations<>Connectionsexhibition,EmilyCarr Institute of Art Design Media, for the VancouverInternational Centre forContemporary Asian Art (Centre A), Vancouver, June3-4, 2004. Nine of the paperspresented were subsequently published with my introductory essay in Yishu: Journal of Contemporary ChineseArt 3:3(September 2004) 32-80.

Conference Presentations:

2017–2018

• * Panelist (invited). NYU 2018 Global Asia/Pacific Art Exchange (GAX), Saint-Martin’s, London and Humbolt University, Berlin, June/July 2018. Forthcoming.
• * “AfroFuturism’s Space Voyagers.” Panel: From Avant Garde to Afrofuturism: Return to Identity. College Art Association (CAA) Annual Conference, Los Angeles, CA, February 21–24, 2018. Forthcoming.
• Asian Diasporas/TransPacific Contexts and Global Art Symposium, Closed Meeting, and Graduate Workshop, Australian National University (ANU), Canberra, AU, Sept. 28–29, 2017.

2016-2017

• Panelist (invited). “Sites of Resistance: Narrative, History, and Public Space.” NYU 2017 Global Asia/Pacific Art Exchange (GAX), MALBA Museo de Arte Latinoamericano de Buenos Aires, June 26-27, 2017.
• “Afro-Asian and Indigenous Futurisms,” Untold Stories of the Past 150 Years, The Craig Dobbin Chair in Canadian Studies and the UCD Centre for Canadian Studies, University College Dublin, Ireland, April 28–20, 2017.
• Panelist (invited). “Joyful Resistance to Killing Joy.” “Panel: ‘Be Nice or Leave’: Killjoys, Academic Citizenship, and the Politics of Getting Along. UAAC Professional Development Panel. Universities Art Association of Canada (UAAC), Université de Québec à Montréal (UQAM), October 27, 2016.
• Discussant (invited). Panel: Contemporary Art at the Intersections of Diaspora and World Studies UAAC, Université de Québec à Montréal, October 27–30, 2016.
• Panelist (invited). “Afro-Asian Canadian Connections in the Arts: The Legacy of Multiculturalism and the Promise of Afro-Asian and Indigenous Futurism.” Panel: Intersectional Narratives. Networked Art Histories Conference, Concordia University, Montreal, October 20–22, 2016. SSHRC

2015-2016

·       “Global Asias in Contemporary Art: From RoCH Fans toBjörk-Geishas.” Public Lecture, FoLASSIS Speakers Series, Facultyof Liberal Art and Sciences and School of Interdisciplinary Studies, OCADU,Toronto, Feb 23, 2016.

• “Intersectionality and New Media Art: Your Ethnic Apparel is Still Downloading.” Re-Create: Theories, Methods and Practices of Research-Creation in the Histories of Media Art, Science and Technology / 10th International Conference on the Histories of Media Art, Science and Technology. Hexagram-CIAM, Media@McGill and Université de Montréal, Montréal, 5-8 November 2015
• Moderator (invited). Roundtable. HUMOROUS > DISRUPTIONS Colloquium: Humour in Feminist Media. Synoptique: An Online Journal of Film and Moving Image Studies, Concordia University, Montreal, Oct 16-17, 2015.
• Keynote Panel Speaker. Étrangers Communs/Common Aliens Diaspora Conference, October 1-4, 2015. Atelier Céladon. A Z Space, Montreal, October 1, 2015. http://www.atelierceladon.com/
• “Technologies of Self-Fashioning: Virtual Ethnicities in New Media Art.” Disruptions: 21st International Symposium on Electronic Art (ISEA), Simon Fraser University, Vancouver, August 14-19, 2015.
• Discussant (invited). Session 2 Trajectories of Asian Diasporic Scholarship and Practice. Global Art and Diasporic Art in Japan and Asia. Mori Art Museum, NYU 2015 Global Asia/Pacific Art Exchange Initiative (GAX), and the Integrated Human Sciences for Cultural Diversity Program (HIS), University of Tokyo, June 26-27, 2015. Invited participant in symposia and working sessions at Waseda University, Tokyo and Kaka`ako Agora, Department of Art and Art History/Art Gallery and Museum Studies Graduate Certificate Program and The Art Gallery at the University of Hawai`i, Manoa, Hawai`i, Honolulu, June-July 2015.

2014-2015

·       “EthnoculturalArt Histories in the Classroom and Beyond.” Panel:Pedagogy and Diversity: TheGlobal Factor, sponsored by Committee on DiversityPractices, chaired bySunanda K. Sanyal. CollegeArt Association (CAA) Annual Conference, NewYork, NY, February 11-14, 2015.

·       Invitedparticipant. ISEA 2014 Educational Forum, Location:20^th InternationalSymposiumon Electronic Art (ISEA), Zayed Unviersity, Dubai, UAE, November 6,2014.

·       “SpeculativeIdentity: Let’s Play with Our Values. Toi, Moi et la Charte (‘You, Me, and the Charter’).” Location: 20^thInternationalSymposium on Electronic Art (ISEA), Zayed University, Dubai, UAE,October30-November 8, 2014.

·       Workshopco-organizer. CriticalRace Workshop. Universities Art Association ofCanada (UAAC), Concordia University, October 23-26, 2014.

2013-2014

·       “A Hemispheric NetworkedResearch Model for Asian Canadian ArtHistory, 1960s-present.” Asian American Art: TransnationalCirculationsand Diasporic Framings.”  Smithsonian American ArtMuseum, Washington,DC. Presented in collaboration with the Smithsonian Archivesof American Artand Asian Pacific American Center at the SmithsonianInstitution andthe Asian/Pacific/American Institute at New YorkUniversity as a part ofthe 2014 NYU Global Asia/Pacific Art Exchange andWorking Sessions in DC and NewYork City, May 30-June 4, 2014. Invited participant.

·       Faculty and Graduate Study Day participant.Bruno Latour: An Inquiry into Modes ofExistence, Artexte, Montreal,April 30, 2014.

·       “Asian/Americas: Contemporary Art and theHemisphericTransnational Diaspora.” Panel: New World Systems? Reassessing theTransnational Traffic ofArt. Association of Art Historians (AAH) AnnualConference, RoyalCollege of Art, London, UK, April 10-12, 2014.

·       “Asian Diasporic VisualCultures and the Americas.” 2014 AsianCanadian Studies Conference: What Difference Does ‘Asian Canadian’Make?Power, Knowledge, and Resistance, OISE, University of Toronto, March28,2014. 

·       Chair for CAA Affiliate Society Diasporic Asian ArtNetwork (DAAN) Panel:Asian/Americas: Praxis and Pedagogy. College Art Association(CAA)Annual Conference, Chicago, IL, February 12-15, 2014. 

·       Working Session Participant. The State ofBlackness: FromProduction to Presentationinterdisciplinary conference. OCADUniversity, atHarbourfront Centre, Toronto, ON. February 22, 2014.http://thestateofblackness.com.Invited.

·       Moderator. Professional Panel (Esther Bourdages,Christine Ross,Jonathan Lessard, Jean Dubois). 3rd Annual Concordia UndergraduateArt HistoryConference: Art and the Digital. Concordia UndergraduateJournal of Art History (CUJAH), ConcordiaUniversity, January 24-25, 2014.Keynote: Kent Monkman. 

·       Commentator. Michael Asbury, “Contesting HybridNotions withinBrazilian Contemporary Art.” Afternoonsat the Institute Series. Gailand Stephen A. Jarislowsky Institute forStudies in Canadian Art, Department ofArt History, Concordia University,November 11, 2013. 

·       Moderator/Faculty Advisor/Supervisor. Cultural Convergences I:Testify, one-day conference, inauguralconference for student-runEthnocultural Art Histories Research Group (EAHR), ConcordiaUniversity,September 21, 2013. Keynote: Andrea Fatona, Curator/YorkUniversity.

·       Moderator(invited), Asian Canadian Wiki Tea Salon: ResearchPresentations,Simone de Beauvoir Institute, Concordia University, July 24,2013.

·       “Backlashing on the Slash: Asian/Americas andAsian/Feminisms.”Roundtable:“Intersecting Edges: Gender, Culture, Resistance” (co-sponsored byAsianCanadian Studies Network). Women's andGender Studies et RecherchesFéministes (WGSRF) Annual Conference, Congress 20103 of the Humanities&Social Sciences, University of Victoria, Victoria BC, June 2, 2010 /inconjunction with Over the Edge: Forming Asian Canadian Studies: InauguralMeeting of Asian CanadianStudies Network, during Congress 2013,June1-2, 2013.

2012

• “The Twitter of China:Ai Weiwei, Social Media and Human Rights Activism.” DifferentialMobilities: Movement and Mediation in Networked Societies, 4^thInternationalConference of the Pan-American Mobilities Network. Concordia University, May 8-11, 2011. http://vimeo.com/67908405
• Workgroup Participant(invited). Two-day private Scholars Day on the occasion of the exhibitions Gutai: SplendidPlayground, opening at the Solomon R. Guggenheim Museum and Tokyo1955—1970: A New Avant-Garde, on view at the Museum of Modern Art, NewYork, February 14-15, 2013.
• "Between Urban Renewal and Historical Conservation: Virtual Cultural Heritage and Yam Lau's Hutong House." Universities Art Association of Canada (UAAC), Concordia University, November 1-3, 2012.
• "On me prend pour une Chinoise! (They Think I'm Chinese!): Take Three." John Douglas Taylor Conference 2012: "Working the Frame: Comparative Approaches to Asian Canadian Literature & Culture," McMaster University, Hamilton, ON, October 25-26, 2012.
• 01 The Retreat: A Position of dOCUMENTA (13), Banff Research in Culture (BRiC) 2012 research residency, Banff Center for the Arts, Banff, AB, August 2-15, 2012.
• "The Different Worlds of Cao Fei." Public lecture as part of Yellow Signal: New Media in China, Surrey Art Gallery, Vancouver, May 12, 2012.
• "'Super-hybridity' ART HK 11: Hong Kong's Affair with Hybridity (to be continued)." Association for Asian Studies (AAS) 2012, Toronto, March 18, 2012.
• Identity Politics and Performance Art, round table discussion, fofa Gallery, Concordia University, March 7, 2012.
• Discussant for panel "Urbanization and Contemporary Art in Asia." College Art Association (CAA) Annual Conference, Los Angeles, CA, February 22-25, 2012.

2011

• Co-convenor (with Annette Bhagwati) of panel "Global Art Histories in Canada." Universities Art Association of Canada (UAAC), Carleton University, October 27-29, 2011.
• "How Do Non-Western Histories of Media Art and Global Art History Interact?" Rewire: The Fourth International Conference on the Histories of Media Art, Science and Technology, Liverpool John Moores University, Art and Design Academy, Liverpool, UK, September 28-30, 2011.
• "The Paradox of Diasporic Asian Art from a Global Perspective." The Future of Asian Art Symposium, A/P/A Institute/East Asian Studies Department, New York University, May 13, 2011.
• "Mao Goes Pop Online: Game Art Worlds in China." Panel: Cel-Culture: The Hybrid Intersections of Art, Video Games, and Manga. College Art Association (CAA) Annual Conference, New York, NY, February 9-12, 2011.

2010

• "The Art of Representing a Better City, Better Life at Expo 2010 Shanghai." Canadian Asian Studies Association (CASA), University of Ottawa, October 2010.
• "Asian Canadian Art: Ten Years." Panel: Art/Globalization/Locating Vancouver. Let's Twist Again: 2 Day Symposium Situating Vancouver in the Changing World of Contemporary Art, Work Centre for Dialogue, Simon Fraser University, organized by the Vancouver International Centre for Contemporary Asian Art (Centre A), September 17-18, 2010.
• "Endgames in Chinese New Media Art: Feng Mengbo's Long March Restart." 8th Crossroads 2010 for Cultural Studies Conference, Lingnan University, Hong Kong, June 2010.
• "The troisième vague in Quebec and Representations of Women from Ethnocultural Communities in Art." Canadian Women's Studies Association annual conference at Congress 2010 of the Canadian Federation of the Humanities & Social Sciences, Concordia University, May-June 2010.
• "Game Culture and New Media Art in China." Screen World: A Symposium on Screen Technology, Media Space, and Mobile Media, Department of Communication Studies and the Screen Culture Research Group (SCRG), Concordia University, February 2010.

2009

• Can-Asian, Eh? Diaspora, Indigeneity and the Transpacific. Conference programme chair. East Asian Council and South Asian Council of the Canadian Asian Studies Association (CASA), Vancouver, October 2009.
• Negotiations in a Vacant Lot: Studying the Visual in Canada. Invited workshop participant. York University, Toronto, August 2009.
• "Global Art Histories in Canada: A Preliminary Report." Association of Art Historians (AAH) Annual Conference, Manchester Metropolitan University/MIRIAD, Manchester, UK, April 2009.
• Comics, Japanese Popular Culture and Contemporary Art. Interdisciplinary panel convenor. Concordia University, March 2009.
• Farewell to Postcolonialism? GZT3 and its Discontents." College Art Association (CAA), Los Angeles, CA, February 2009.
• "Running Interference in Second Life: Cao Fei's SLart." Screen Culture Research Group (SCRG) Open Working Session, Concordia University, January 2009.

2008

• "Conditioning Exile and Nomadism in Historiographies of Contemporary Chinese Art." Canadian Asian Studies Association (CASA), University of Waterloo, ON, November 2008.
• "Art and Politics in Contemporary China." Public lecture in conjunction with Made in China exhibition, Helen Day Art Center, Stowe, VT, November 8, 2008.
• Rearranging Desires: Curating the 'Other' Within. Symposium convenor. Concordia University, October 2008.
• "Worlding Art Histories Online." ISEA 2008 (Inter-Society for Electronic Arts), Singapore, July 2008.
• "Rearranging Desires." Complicated Entanglements: Rethinking Pluralism in the 21st Century, Carleton University, Ottawa, April 2008.

2007

• "Pedagogical Directions in Asian Canadian Art and Culture: The Ethnocultural Art History Course." East Asian Council of the Canadian Asian Studies Association (CASA), La Malbaie, Quebec, November 2007.
• "Re-reading Ho Tam's Yellow Pages and Other Sites." The Golden Mountain: Canada and China Interconnected, McCord Colloquium 2007, McCord Museum, Montreal, November 2007.
• Redress Express: Current Directions in Asian Canadian Art and Culture. Symposium convenor. Chinese Cultural Centre of Greater Vancouver, for the Vancouver International Centre for Contemporary Asian Art (Centre A), Vancouver, August 2007.
• "Playing Devil's Advocate: Bumper Cars and Star Fairies in Recent Hong Kong Art." Department of East Asian Studies, McGill University, March 2007.
• Amerasia Journal Workshop, Refracting Pacific Canada: New Directions in Research on Race, Citizenship and Migration, University of British Columbia, Vancouver, March 2007.

2006

• "The Aesthetics of Mobility and Contemporary Asian Art." Universities Art Association of Canada (UAAC). NSCAD, Halifax, November 2006.
• "Redress Express." Canadian Asian Studies Association (CASA), Montreal, November 2006.

2005

• "Media Art Ecologies in the Downtown Eastside." New Forms Festival (NFF05), Museum of Anthropology at UBC, Vancouver, September 2005.
• "[esc]aping: Mapping Digital Diasporas in Canada." Poster presentation with Sylvia Grace Borda. Refresh! First International Conference on the Histories of Media Art, Science and Technology, Banff New Media Institute, Banff, AB, October 2005.
• "Afro-Asian Connections in Contemporary Art of the Diaspora: The Travels of DeSouza and Ramlochand." Bandung and Beyond: Rethinking Afro-Asian Connections during the Twentieth Century, Stanford Humanities Center, Stanford University, Palo Alto, CA, May 2005.
• "Pigs, Pandas and Books: Xu Bing's Performance Art." Meaning, Image, and Word: Resourcing "Word Play" in Chinese Cultural Discourses, University of British Columbia, Vancouver, March 2005.

2004

• "Community and Change: A Commentary on Asian Diasporas in Canada." Asian Traffic Conference (official parallel event of 2004 Biennale of Sydney), Asia-Australia Arts Centre (Gallery 4a) and Centre for Contemporary Art and Politics (COFA), University of New South Wales, Sydney, Australia, June 2004.
• Mutations<>Connections: Cultural (Ex)Changes in Asian Diasporas. International symposium convenor. Emily Carr Institute of Art Design Media/Centre A, Vancouver, 2004.
• "Transculturalism: Community and Change." Department of Art History & Visual Art, Occidental College, Los Angeles, CA, 2004.

2003

• "'No Guarantee of Magic': Questioning the Representation of Hong Kong in Contemporary Exhibition Practice." Art Now Visiting Speaker Series 2002-2003, University of Western Ontario, London, ON, 2003.

2002

• "Curating Dialogue and Difference: Hong Kong's Debut at the Venice Biennale." Chinese Arts in the International Arena Conference. British Museum, London, UK, 2002.

2001

• "Speculating on Gender in Contemporary Hong Kong Art." College Art Association (CAA), Chicago, IL, 2001.
• "Asian Cool, Vienna Chic and Girl Power." Panel in conjunction with the exhibition "Re-Considered Crossings: Representation Beyond Hybridity, An Arts & Cultural Exchange Between Hong Kong & Vienna," WUK, Vienna, Austria, 2001.

2000

• "Contemporary Black Women Artists: Looking Back." Panel in conjunction with the exhibition "Through An-Other's Eyes: White Canadian Artists and Black Female Subjects," Leonard and Bina Ellen Art Gallery, Concordia University, 2000.
• "Mobility Metaphors in Ellen Pau's Recycling Cinema," Second International Conference on Hong Kong Culture, Hong Kong Polytechnic University, Hong Kong, 2000.

Exhibitions

2017

Animate:Diyan Achjadi and Alisi Telegut, Carleton University Art Gallery, Ottawa,September 11–November 12, 2017.

Yen-chaoLin: DIY Haunt, Oboro artist-run centre, Montreal, May 19–21, 2017.

2013

Yam Lau(Toronto): A World is a Model of a World,Darling Foundry, Montreal,June 6-August 25, 2013.

2008
Rearranging Desires: Curating the 'Other' Within, Faculty of Fine ArtsGallery, Concordia University, October 2008.

2007
Redress Express: Chinese Restaurants and the Head Tax Issue in ContemporaryArt, Vancouver International Centre for Contemporary Asian Art (CentreA), August 2007.

2006
Container Culture exhibition, curatorial committee member in ISEA 2006Symposium (Inter-Society for Electronic Arts), Pacific Rim New Media Summit (workinggroup member) and ZeroOne San Jose: A Global Festival of Art on the Edge, SanJose, CA, August 2006.

EmergencyBiennale in Chechnya, Evelyne Jouanno (Founding ArtisticDirector) / 7:Vancouver Stop, organized by Alice Ming Wai Jim, KristinaPodesva and BabakGolkar. July-August 2006.

ContainerCulture Vancouver: IN[  ]EX new media art project, in conjunction with UBCLiving the Global City program of the 2006 World Urban Forum, atthe Earth World Urban Festival (Official Arts and Culture Festival of WUF),June 2006, and Centre A, Vancouver, June -July 2006.

YokoOno: Wish Tree & Mending Peace, Centre A, Vancouver, June2006.

ErikaTan and Anthony Lam: Mining the Archive, Centre A,Vancouver, 2006.

2005
Jenny Ham: TRACT:  Installation and performance, Centre A,Vancouver, 2005.

Neighbourhood,video exhibition and film screening of 13 Canadian artists, CentreA, Vancouver, 2005.

VanessaKwan, Your Private Sky: Penticton, Art Gallery ofSouth Okanagan, Penticton, BC, 2005.

CharlieDon't Surf: 4 Vietnamese American Artists, co-curated with VietLe, Centre A, Vancouver, 2005.

KimHuynh Inflected Signs, Centre A, Vancouver, 2005.

2004
Samina Mansuri: DARR: 37 Conversations, Centre A, Vancouver, 2004.

Mutations<>Connections: Cultural(Ex)Changes in Asian Diasporas,CentreA, Vancouver, 2004.

Mei-Kuei Feu: Zone flottante, Centre A, Vancouver, 2004.

Para/SiteArt Space: Open Work, co-curated with David Chan, Centre A, Vancouver, 2004.

GailanNgan: Informal Residency, Centre A, Vancouver, 2004.

Documentation to provide with your request for reference letters

Below is list of what I typically need as info in order to provide STRONG reference letters requested by students. Once you have emailed these documents, I will email you confirmation on whether or not I will provide you with a reference letter. 

You may use this as a guideline for asking other professors. 

A useful article online is: http://www.universityaffairs.ca/career-advice/career-advice-article/how-to-ask-for-a-reference-letter/

In general, students who would like to request that I write a letter of recommendation or act as a reference need to: 1) have received minimum an A- in a course with me; and 2) submit the following materials to me at least four weeks in advance of the deadline:

1. a copy of your cv;

2. an unofficial copy of your transcript(s), especially if I have to speakto your academic performance;

3. a list of courses (and year and session enrolled) you have taken withme, and final grades obtained; justify grade in comparison to your evaluationof the course. Justify inconsistences in academic performance, if applicable.

4. a copy of 1-2 research papers or articles that you think it a goodsample of your work, with the grade or grading rubric (preferably ones youwrote for me, but also relevant to the application in question);

5. a copy of the cover letter or statement of intent/research proposal youwill submit to the internship/job/graduate program/fellowship, and any otherrelevant information about why you deserve this position/award;

6. a list of the addresses [preferably email not snail mail if the latter can be avoided] and dates by which the letter(s) must be received and/orURLs for electronic submission – I do not pay for expedited mail/courierservices (all hard copies will be mailed through regular mail).

7. any forms that need to be filled out (make sure you complete anynecessary sections and sign if required) or provide complete personal info thatI need to fill out your online forms (i.e. student numbers, addresses, telephonenumbers, birth dates, etc.) otherwise they will be left blank.

*********

It’s always good to follow up with a reminder the week before.

My contact info: