Ho Sin Tung’s “Swampland” collapsed a spectrum of failed utopias into one exhibition, from the breakdown of the artist’s relationships commemorated in Same Old Sweet (all works cited, 2019)—in which melted chocolates, candies, and antacid pills gifted by former paramours are molded with clay and resin to appear like feces in storage vessels—to the implosion of sociopolitical projects evoked in Dead Skin, comprising nine child-size ghosts, their hollow eyes cut not from bedsheets but from the flags of no-longer-extant states, colonies, and empires. These defunct territorial entities, which include