The dedication of the guidebook accompanying “Long March Project: Building Code Violations III – Special Economic Zone” reads: “To the freezone imagineers.” A portmanteau combining “imagination” and “engineering,” “imagineering” was first coined by the Alcoa Corporation during World War II, and later popularized—and trademarked—by the Walt Disney Company during the 1970s to extol the modus operandi of their construction of Disney theme parks worldwide. The imagineers, their parks, and the visitors hooked on the promise of speed and disequilibrium: this sci-fi-infused image makes an apt analogy for the Special Economic Zones that have mushroomed in China since the Reform and Opening Up process. It also offers a point of departure for this timely survey on artistic investigations into the great acceleration of China’s technological epoch. Four decades after the Reform, the zeitgeist of China today can best be summarized as “an unfettered optimism for the future and the rapid development of China’s technological infrastructure,” as curator Zian Chen and artist Liu Chuang write in “Revisionist Accelerationism,” their essay for the exhibition’s catalogue. Arguably, the seeds of this futurist disposition were first sewn by Deng Xiaoping’s cabinet in Shenzhen, China’s first Special Economic Zone, the original site of the country’s tech hub …