This paper examines Andrew Kuo’s chart works in the context of self representation in the age of social media. The paper positions Kuo’s artistic development and critical responses to his art, linking his work to social networking practices of online self-portraiture and identity formation, and to identity construction through archive and memory. Kuo’s practice is contextualized in a postmodern theoretical framework, specifically irony, to frame his work as a form of critique. The paper argues that Kuo’s chart works are an exemplary case of self-representation unique to the age of contemporary social networking, allowing for new hybrid forms of identity.