there is only a delusional, comfortable sleep. Yet awakenings do occur. In the abrupt terror of the moment, a job description appears: you must re-engineer desire. Begin with the construction of bridges in our largely compartmentalized world; push discourse beyond its limits, introduce meaning where it is contained. At the least, tightly wind the alarm clocks. For me, art is not a language but a catalytic structure; one that can provide new conditions for the rebuilding and healthy survival of independent thought and expression."

Characterized by meticulous research, encyclopedic references and innovative sites, Chin's work - drawings, sculptures, installation pieces and public art projects - is propelled by: research to destroy preconceived notions; poetry and humor; sub-surface meanings; social strife and discontent; environmental crises; tragedy, political and personal; etymology of word, material and form; the conditions for memory; psychological space and invisible constructions.

1994 Havana Biennial, Havana, Cuba

1992 Soil and Sky,
The Fabric Workshop and Swarthmore College, Philadelphia, PA

simultaneous installation: Capp Street Project, San Francisco, CA/Three River Arts Festival, Pittsburgh PA

1991 Degrees of Paradise,
Storefront for Art and Architecture, NYC

1990 Viewpoints: Mel Chin,
Walker Art Center, Minneapolis, MN

1990 GHOST,
site specific installation: Real Art Ways, Hartford, CT

1989 Directions: Mel Chin,
Hirshhorn Museum and Sculpture Garden, Washington, DC; works included: The Operation of the Sun through the Cult of the Hand and Sculptural Witnesses

1985 Modus Operandi: 1974-1985,
Diverse Works, Houston, Texas