In Fall 2020, Margo Machida and Marci Kwon began corresponding about Martin Wong (1946–1999) in preparation for the artist’s forthcoming catalogue raisonné. What began as a straightforward exchange of sources soon metamorphosed into a rich dialogue about the multifaceted nature of Wong’s practice. As we puzzled over Wong’s iconography, sources, and aesthetic choices, the conceptual depth of his practice began to reveal itself to us. In Wong’s work, nothing is ever a single thing, and the same can be said of Asian American art.