"Each project responds, provisionally and emphatically, to the field of contemporary art: provisionally because that field is ever changing; and emphatically because at every moment there exist overlooked and undervalued aesthetic, social, and ideological positions that ask to be highlighted. The solo exhibition 'Privileged White People' (2013, Forever & Today, New York), for instance, examined the sensibility of artists who grew up during the affluent Clinton presidency. It employed diverse formats (a screenplay, two c-prints, scent, and watermarked paper) to explore a generational shift away from politics and towards ethics. Likewise, 'Demoiselles d'Avignon' (2013, Y Gallery, New York) refracted Western abstraction through the eyes of a future class of refined Chinese princelings. It asked: After over a century of Western abstraction, might not the latter’s principles—of objectivity, of negation, of transparency, of liberation—stand as the naïve beliefs of a backwards “primitive” culture that has yet to catch up with globalization and its aesthetic correlates? My work demands much from myself, and also, unabashedly, from the viewer."
Christopher K. Ho, Artist Statement, 2015