My writing centers on art, literature, and philosophy. It shifts across registers: the academic, the novelistic, the biographic, the poetic.

I have two monographs underway. The first, Ribera and the Operations of Painting, considers the intersection of art and medicine in seventeenth-century Italy. Sections of this work have been delivered as public lectures (most recently, “Tending: Ribera’s ‘Pious Women’ and the Restoration of Art,” at the Frick Collection Symposium on the History of Art) and have been variously published (“The Syphilitic Image”).

The second monograph, Consolation’s Vision, is on the visual dimension of consolation from early modernity to the present. A preliminary segment, “Kant’s Maiden,” has been published in Contemporary Aesthetics.

I am a founding writer at Tetragrammaton, where I write on art and ideas with a penchant for the unanswered and unanswerable. Most recently, I have written on angels, mistakes, doodles, trees, grasshoppers, and fieldwork, and on various forms of pictorial suspense – lifting, parting, floating, and rivering – set within an imagined Museum of Suspense.

In 2025, I was a guest editor for Art Review Oxford. The journal’s twelfth edition, Spectral Ecologies, is available online and in select libraries. I have written, here and elsewhere, on the poetics of migration and the potentials of the archive as a site of violence and reparation (see “Stones of Atlit”). A longer treatment on the subject of Palestinian photography is forthcoming. 

Increasingly, I have turned to poetry, which has been published in the Oxford Review of Books (Stanford University Press, 2025) among others; and, occasionally, performed aloud.