After Bob Dylan won the Nobel Prize for Literature, the critic David Orr remarked that Dylan might be great, but he doesn’t write poems. The recent video-art exhibition “A Geography of Resistance” might invite a similar charge; that while its intention—to cry out for China’s dispossessed—was good, it failed as art. Take the first work on display, Lo Lai Lai Natalie’s The Days Before Silent Spring—Prelude, 2010–19, a documentary about the artist’s decade-long efforts operate a farm in Hong Kong’s New Territories. The curator, Li Jia, argues that Lo’s endeavor recalls earlier, indigenous forms of