ABSTRACT
This chapter compares digital art practices in Guangzhou and Kuala Lumpur during the Covid-19 pandemic in 2020 and 2021. It explores digital art practices as a space-making strategy that provoked critical reflection on social issues and created solidarity with economically vulnerable groups at a time when a public health crisis produced new social barriers and inequalities in the two cities. Using intersectionality as an analytical approach, we analyse how various digital curatorial practices effectively drew attention to social inequalities and engaged with marginalised communities. We argue that these virtual art exhibitions did not so much aim for technological innovation, but rather served as a strategy to express a sustained commitment to physical spaces and communities.
