After establishing her gallery in Taipei in 2014, Nunu Hung is ready (less than a decade later) to start an ambitious project to expand into New York. In 2023, she opened her second gallery space at 3,000 square feet at 381 Broom Street, the history of the first Taiwanese gallery to build a business in the city. From the outset, her goal was to showcase global contemporary art and bridge the cultural divide between Taipei and New York.
“When I first opened a gallery in Taipei, I was inspired by the gap seen in the local art world – a lack of exhibitions that showcase established, internationally recognized artists. I want to bring to Taipei, which has shaped the work of the Western global dialogue. , provides collectors, critics and curators with the opportunity to interact with these artists with a rich academic and artistic heritage. “Her latest exhibition is described by Kansas city artist Jill Downen, which includes a series of ethereal spirits. The material works, that is, the twists and turns she describes.
“Although this philosophy remains the same, our strategy in New York has been expanded to emphasize survey performances, work with artists’ estates and curate historical exhibitions. This will allow us to deepen the dialogue between contemporary and historical art, thus making it a good idea to The artists we represent offer a wider background.”
Nevertheless, Hong encountered a series of challenges in carrying out his mission to promote intercultural dialogue and exchanges between this unique cultural landscape. “The cultural differences between artist’s background and American audiences are key challenges,” she said. “Generally, these artworks have cultural references and may require further explanation or context for audiences who are not familiar with the artist’s cultural perspective.”
However, over the years, Hong has fostered a very diverse program and resonated on an international scale. For more than a decade, her gallery has represented not only Asian artists but also famous American and European figures, including Petah Coyne, Rona Pondick, Kees Goudzwaard, Ishmael Randall-Weeks and Peter Zimmermann, who held their first in Asia. Taipei location of exhibition gallery held in Asia. “Our inclusive exhibition program makes it easier for you to deal with this challenge,” Hung Notes said.
At the same time, the reception of Asian artists in New York is the vast majority. Hong said their work is becoming more interested and marketable, and they introduced American audiences to Asian artists such as Shina Kuo, Jiangze Jhong, Ya-ting Kao and Filipino artist José John Santos III.
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“As a bridge between Asia and the states, we are able to open up new dialogue and create a space where global ideas, concepts and artistic practices can intersect. This not only expands the horizons of collectors and curators, but also enriches the Cultural exchange between the East and the West, which is what continues to drive our mission today.”
In the current geopolitical climate, this task makes more sense than ever. Meanwhile, over the past few decades, Taiwan has developed a rapidly growing and increasingly active art world. The island is now a key financial center with a thriving cultural community and an increasing number of galleries, institutions and artists gaining international recognition. “Taiwan's art market has been strong, largely due to the long tradition of collecting art. Many of the well-known collectors there have also established nonprofit organizations that run local museums, making art more accessible to the public.” But The Asian contemporary art community has steadily turned to a more global perspective. “It’s really exciting to be a pioneer in this movement, especially to be one of the first galleries to introduce various contemporary artists to Taiwan.”
Hong believes that this is a particularly important moment for the Taiwanese art world, especially with the rise of innovative young curators, who are revitalizing on the spot with dynamic, forward-looking programs. “Taiwan’s curatorial landscape is becoming increasingly independent, global and vibrant, bringing good reflections to the future.”
It is worth noting that Hung attaches great importance to the role of publications in promoting the cross-cultural circulation of artistic narratives, ideas and opinions. “I always believed in the power of writing. When I was a kid, I envisioned a career as a writer, whether it was a novelist or an investigative journalist. With an interest in the visual arts, I began to read everything possible,” she recalls. “Although art has its own voice, good writing deepens our understanding and expands the possibilities and interpretation of the work.”
So from the moment she opened a gallery in Taipei, Hung envisioned creating a gallery newspaper, a vision that would now print her into publications monthly. “Printed words have lasting effects that digital media can't be copied. But I also have to pay attention to the environment, so when we print something, it has to make sense. That's why we put a lot of time and energy into nu paper10 years later, it remains strong. ”
also nu paperHung also invested in producing artist catalogs, constantly seeking new ways to better spread artists’ works. “Our first book about Rodney Dickson is not only a typical catalogue; we worked with a journalist to document his story for a year, taking a deeper look at his life and work Narrative. When we adopt traditional approaches, we are also exploring new ways to interact with our audience through these publications.”
At the same time, promoting experimentation and supporting emerging talents remains at the heart of Hung's vision. To pursue this, she recently transformed the lower level of the gallery into a dedicated project space for young artists. The project space in New York aims to provide a platform for early career and international artists who have never been exhibited in the United States before, as well as established artists seeking to explore new media and concepts. “This flexibility allows us to maintain a strong lineup while encouraging artists to experiment. In New York and Taipei, our major galleries show artists with solid work, but the project space provides them with push boundaries to push. Freedom.”
Looking ahead, the gallery’s 2025 program, “Asian Voice,” will focus on Asian and Asian diaspora until 2026. It will feature fascinating and immersive installations through the inaugural exhibition held by the creative duo, Alchemyverse, to explore a multifaceted experience through a printed polynomial experience.
Official highlights Hung reveals to Observer are coming, including a painting survey conducted by artist Guan Hon Lu, a Taiwanese social dynamic during the pandemic. In April, Mimian Hsu will present a series of new work to explore family history and hybrid philosophical themes, while in June, Indian artist Purvai Rai will delve into memory and identity through multimedia work. The project room has expanded the program’s global reach and will host work by Syed Hussain in October to address identity and displacement of Hazara communities in Afghanistan and Pakistan. Ending this year, Ning Fu will present a series of paintings that criticize the impact of social media on identity in the digital age.
Meanwhile, in the main space, the gallery’s spring program will open in March, open by Cianne Fragione’s solo exhibition, which includes nearly thirty wall works, as Hung describes, “provides her artistic practice and gesture innovations Invaluable insights and several works were introduced, and several works have been introduced since the past few years and have never been publicly displayed. “In May, the exhibition of Trompe-l'oeil paintings by Kees Goudzwaard will be followed. A prominent group performance in July will focus on indigenous artists from the United States and Taiwan, including works by En-Man Chang, Labay Eyong, Lehuaaukea and Roin Morigeau. Continue to focus on Indigenous narratives, the fall season will open in September, with a solo exhibition by Caroline Monnet, who explores Indigenous identity and bicultural life by changing cultural history and industrial material processes. The gallery’s 2025 plan will end with an exhibition by José John Santos III, whose practice asks about the hidden meaning of mundane objects, revealing their history and challenging views on everyday things.
It is worth noting that tariffs imposed under Trump’s trade policy pose a potential threat to intercultural dialogue between Asia and the United States, while Hong worked hard to cultivate it. “At present, it’s hard to say how these tariffs will affect the exchange between the United States and Asia. As far as I know, the new tariffs in Asia do not include art, but they do target artworks and large-scale installations (such as metals, textiles and others). The target material commonly used in professional supplies,” Hung explained. “Any day may change and we have to be prepared for it. We will be prepared and remain flexible to accommodate any new tariff regulations that appear.”
Despite these uncertainties, Hung remains firmly convinced that the artistic and cultural dialogue between the United States and Asia will last. “I believe it will continue because there is already an intellectual exchange network that goes beyond the borders,” she said. “As an international gallery in the Taipei and New York areas, we are lucky to have the opportunity to bridge these areas in a meaningful way. “Moving forward, we will continue to build on the dual location advantage and pay attention to the ever-changing international trade so that the flow of art, thought and talent between the two regions remains uninterrupted.”
Looking ahead, Hong is optimistic. “I am approaching the future with an open and spontaneous feeling. Nonetheless, one thing is certain: My team and I will continue to curate engaging exhibitions and promote creative exploration. I have both the artists we represent and the gallery itself Deep confidence, I believe everything is possible. Unpredictability is one of my favorite things to work in the creative field. There is always room for new ideas and unexpected opportunities.”
