About the Artist: Huang Guaier + Wang Runzhong, born in China, are a multimedia artist duo based in Shanghai and New York City. Their work interrogates the ontological meaning of photography, as well as explores the possibilities of contemporary photography across the overlaps of multiple fields. Their projects contextualize from philosophical and political theories, question the increasingly ocular-centric and precarious society, and critique the binary systems in the western academia.Huang holds Bachelors of Sciences in Psychology and Forensic Science from Syracuse University, and Wang holds Bachelors in Automation Engineering and TV Directing from Communication University of China. They both graduated with a Master of Fine Arts degree from the Photography department at Parsons School of Design. Their work has been exhibited in international museums and festivals, including 2018 Three Shadows Photography Award Exhibition in Beijing, “2017 Top 20 Cutting-Edge Photographers in China” at Zhejiang Art Museum, the theme shows “Your Selfie Stick” at 2017 Lianzhou Foto Festival, China, “Governing Bodies” at Aronson Gallery, New York, and “Open Books: An Open Dialogue” at Connecticut College, New London. Their writings were selected for this year’s Photographies Conference: Photography in Asia at Nanyang Technological University in Singapore.


  • Enjoy this art piece by Huang Guaier and Wang Runzhong! Buy it for your favorite photo theory enthusiast and relish in the playful response to Susan Sontag's pivotal text, On Photography. Also sold in the MoMA PS1 gift shop, this book is a beautiful testament to the ongoing conversations in photography. 


    Guy Debord once said, that when the real world becomes the spectacle of stacked images, imagery becomes the only thing that is real. Photography, is the exact perpetrator of this post-industrial spectacle.

    This work, Photography, simulates, dismantles and re-creates the monumental work of Susan Sontag, On Photography, as nothing is left but "photo-" related words. The piece acts as a ghostly shadow of the original book, leaving traces of manipulation and characteristics of the apparatus. The exploitation of words and objects makes "photography" become ambiguous - Is this a book or a series of images? Is this a self-manifesto of photography or an epitome of our age?