Abstract
ABSTRACT This essay interlaces personal narrative with an analysis of the video and textual works of the Korean American artist Theresa Hak Kyung Cha. I begin with a sequence of visits to the Puck Building, the site of Cha’s murder in 1980, in an ill-fated attempt to recover her presence in luxury penthouse suites now owned by the Kushner family. I move toward the screen as a site of permanence where I can unearth Cha’s ruminations on history, mythology, language, and cinema.
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