“Lee Mingwei and His Relations: The Art of Participation—Seeing, Conversing, Gift-Giving, Writing, Dining and Getting Connected to the World”: the ambitious but unwieldy title of this retrospective exhibition spanning twenty years is deliberately multivalent. It extends standard readings of relational aesthetics from a practice based, in part, in Asian philosophies and art, proposing a broad conception of relations embracing family along with artistic companions, and often inviting perfect strangers to participate in intimate social activities—sleeping, dining, mending clothes. Rather