[19] Conceived in 2001, but first presented at the The Phillips Collection in Washington, DC (2014), the series Abstract Nationalism[20] includes video works, visual scores, paintings, musical performances, and various media associated with socially engaged art.

During the peak of the 2006 United States immigration reform protests, three projects, Naturalizations,[23] LATINO/A AMERICA,[24] and Tianguis Transnacional[25] were presented in Lasch’s first major solo exhibition at the Queens Museum of Art in New York.

Video lectures, complementary materials, and presentations by cross-national artists, curators, critics, and activists provide a formal and theoretical overview of the fundamental themes within socially-engaged public art.

[30] ARI Fellows are offered a unique opportunity to address challenging topics, jump-start experiments, manufacture prototypes, and create social and performative models that can then be applied to both public and professional spheres.

Between 1999 and 2004, Lasch created a series of simultaneously local and transnational social projects with immigrant and indigenous groups in Chiapas and Quintana Roo (Mexico), and Jackson Heights (Queens, New York).

This pedagogical work received consecutive years of support from artist Robert Motherwell’s Dedalus Foundation,[34] and it included noted guest participants such as Ricardo Dominguez[35] from Electronic Disturbance Theater.

During his years at Duke, Lasch's work has developed in an intellectual environment that includes influential figures in critical theory such as Fredric Jameson, Katherine Hayles, and Mark Anthony Neal.

His co-publications and direct artistic collaborations with colleagues there include projects with Esther Gabara,[36] Walter Mignolo,[37] Michael Hardt,[38] Kristine Stiles, and Ariel Dorfman,[39] as well as the staff of the Nasher Museum of Art.