[9][10] Anticipating that hormone therapy might affect her ability to write, she took leave from the New School and completed the books Reverse Cowgirl, Philosophy for Spiders, Capital is Dead and Sensoria.

[9] Between 2018 and 2022, Wark primarily wrote articles and commissioned pieces, and became involved with queer and trans rave scenes in Brooklyn.

Examples given in the book include the stock market crash of 1987, the Tiananmen square demonstrations of 1989 and the fall of the Berlin Wall in 1989.

The first of these works examines the so-called 'culture wars' of the 1990s as symptomatic of struggles over the redefinition of Australian national identity and culture in an age of global media.

She further describes the concept of "third nature" or telesthesia, where devices such as television and the telephone create a platform which we use to communicate to people over large distances and not just a machine that we learn to operate individually.

This is described in her book The Virtual Republic: While it may feel natural for some to inhabit this media-made world, I suspect there is a fundamental change here that has a lot of people just a bit spooked.

The media theorist Ned Rossiter has called this approach a 'micro-empiricism', and sees it as derived from the work of the philosopher Gilles Deleuze.

Wark pays particular attention to often-neglected figures and works in the SI, including the utopian architectural projects of Constant, the painting of Giuseppe Pinot, The Situationist Times of Jacqueline de Jong and the novels of Michèle Bernstein.

"[16] At The New School, Professor Wark teaches seminars on the Situationist International, the Militarized Vision lecture, as well as Introduction to Cultural Studies.

[17] Reverse Cowgirl is an autofictional account of Wark's various experiences of gender and sexuality as she understood them on the cusp of her transition.

The first half of the book draws on the relatively neglected Marxism of Alexander Bogdanov, and which reads the work of Andrei Platonov as Marxist theory.

[20] The second half of the book applies this Bogdanovite lens to the work of Donna Haraway, Karen Barad, and Kim Stanley Robinson.

She writes that: "Addressing the text in the second person to and from specific people, real or imagined, gets us away from the omniscient narrator and allows us to explore how particular experiences and emotions fall outside both literary and social norms.

"[23] At the theoretical level, Wark's writing can be seen in the context of three currents: British Cultural Studies, German Critical Theory and French Poststructuralism.

Her earlier works combined British and French influences to extend Australian cultural studies to encompass questions of globalization and new media technology.