In the early 1980s, the painter, sculptor, and all-around technological savant Tishan Hsu landed a night job as a “word processor” at a Wall Street law firm. Encountering early computers before they entered widespread use, Hsu spent his shifts engrossed in a now mundane task: staring at a screen. Entranced by the symbiosis between user and machine, Hsu has continued to probe the interstices between the virtual and the physical over the past four decades, blending elements of architecture, medicine, and computer processing into inimitable hybrid objects. Following a debut at the Hammer Museum in Los Angeles in January, “Tishan Hsu: Liquid Circuit,” his first museum survey, was scheduled to arrive at SculptureCenter in New York in May. Delayed due to the pandemic, the exhibition opened in September in an interlinked, computer-dependent world Hsu prophesied. Encompassing paintings, sculptures, drawings, and videos, the show traces an arc from the dawn of personal computing to the advent of social media.

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