"Photography and Diaspora: A Roundtable," in Tanya Sheehan (ed.), Photography and Migration (Routledge, 2018)
"Harmony and Discord in the Murals," in James A. Ganz (ed.), Jewel City: Art from San Francisco's Panama-Pacific International Exposition (University of California Press, in association with the Fine Arts Museum of San Francisco, 2015)
“Photography and Opium in a Nineteenth-Century Port City,” in John Davis, Jennifer Greenhill, and Jason LaFountain (eds.), Companion to American Art (Wiley-Blackwell, 2015)
“Antietam Sketches and Photographs, 1862,” in Jason E. Hill and Vanessa R. Schwartz (eds.), Getting the Picture: The Visual Culture of the News (Bloomsbury, 2015)
“Photography and Diaspora: A Roundtable with Pok Chi Lau, Surendra Lawoti, and Wei Leng Tay, moderated by Anthony W. Lee,” in Trans Asia Photography Review, vol. 5, no. 1 (Fall 2014)
“Francis Greenwood Peabody and the Age of Photography,” in Deborah Martin Kao and Michelle Lamunière (eds.), Instituting Reform: The Social Museum of Harvard University, 1903-1931 (Yale University Press, 2012)
“Introduction,” in Jason Francisco and Anne McCauley, The Steerage and Alfred Stieglitz, volume 5 of Defining Moments in American Photography (University of California Press, 2012)
“Introduction,” in Sara Blair and Eric Rosenberg, Trauma and Documentary Photography of the FSA, volume 4 of Defining Moments in American Photography (University of California Press, 2012)
“What the Crispins Saw,” in James Opp and John C. Walsh (eds.), Home, Work, and Play: Situating Canadian Social History (Oxford University Press, 2010)
“Trace,” in Simon Starling: The Nanjing Particles (Massachusetts Museum of Contemporary Art, 2009)
“Silence,” in American Art, vol. 23, no. 1 (Spring 2009)
“Introduction,” in Dora Apel and Shawn Michelle Smith, Lynching Photographs, volume 2 of Defining Moments in American Photography (University of California Press, 2008)
“American Histories of Photography,” in American Art, vol. 21, no. 3 (Fall 2007)
“A Brief History of Painting in Chinese America to 1945,” in Susan Davidson (ed.), Art in America: 300 Years of Innovation (Merrell, in association with the Solomon R. Guggenheim Museum, 2007)
“Workers and Painters: Social Realism and Race in Diego Rivera’s Detroit Murals,” in Alejandro Anreus, Diana Linden, and Jonathan Weinberg (eds.), The Social and the Real: Political Art of the 1930s in the Western Hemisphere (Penn State University Press, 2005)
“Painting a Spark of Hope: Diego Rivera’s History of Cuernavaca and Morelos,” in Susan Danly (ed.), Casa Mañana: The Morrow Collection of Mexican Popular Arts (University of New Mexico Press, in association with the Mead Art Museum, 2002)
“Crooning Kings and Dancing Queens: San Francisco’s Chinatown and the Forbidden City Theater,” in Stephanie Barron, Sheri Bernstein, and Ilene Susan Fort (eds.), Reading California: Art, Image and Identity in California, 1900-2000 (University of California Press, in association with the Los Angeles County Museum of Art, 2000)
“Another View of Chinatown: Yun Gee and the Chinese Revolutionary Artists’ Club,” in James Brook, Chris Carlsson, and Nancy J. Peters (eds.), Reclaiming San Francisco: History, Politics, Culture (City Lights Books, 1997)
“Diego Rivera’s The Making of a Fresco and Its San Francisco Public,” in Oxford Art Journal, vol. 19, no. 2 (1996)