After founding her gallery in Taipei in 2014, Nunu Hung was ready—less than a decade later—to embark on the ambitious project of expanding to New York. In 2023, she inaugurated a second gallery space, a 3,000-square-foot location at 381 Broome Street, making history as the first Taiwanese gallery to establish a presence in the city. From the outset, her goal has been to present global contemporary art and bridge the cultural divide between Taipei and New York.
“When I first opened the gallery in Taipei, I was inspired by a gap I saw in the local art scene—a lack of exhibitions showcasing established, internationally recognized artists. I wanted to bring to Taipei the kind of work that had already shaped the global conversation in the West, offering collectors, critics and curators the chance to engage with the rich academic and artistic legacies of these artists,” Hung tells Observer as we walk through her latest exhibition, which features a series of ethereal material compositions—sculptural “reimagined drawings,” as she describes them—by Kansas City artist Jill Downen.
“While this philosophy remains unchanged, our strategy in New York has expanded to emphasize survey shows, working with artists’ estates and curating historical exhibitions. This will allow us to deepen the dialogue between contemporary and historical art, offering a broader context to the artists we represent,” Hung says.
Nonetheless, in taking on the mission of promoting intercultural dialogue and exchange between such distinct cultural landscapes, Hung encountered a series of challenges. “The cultural difference between the artists’ backgrounds and the American audience is the key challenge,” she says. “Often, the artworks carry cultural references that might need further explanation or context for viewers unfamiliar with the artist’s cultural perspective.”
Over the years, however, Hung has cultivated a remarkably diverse program and roster that resonates on an international scale. For more than a decade, her gallery has represented not only Asian artists but also prominent American and European figures, including Petah Coyne, Rona Pondick, Kees Goudzwaard, Ishmael Randall-Weeks and Peter Zimmermann—each of whom had their first exhibition in Asia at the gallery’s Taipei location. “Our inclusive exhibition programming has made it easier to navigate this challenge,” Hung notes.
At the same time, the reception of Asian artists in New York has been overwhelmingly positive. There is a growing interest and market for their work, according to Hung, who has introduced American audiences to Asian artists such as Shina Kuo, Jiang-Ze Jhong, Ya-Ting Kao and Filipino artist José John Santos III.
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“Functioning as a bridge between Asia and the States, we were able to open up new dialogues and create a space where global ideas, concepts and artistic practices could intersect. This has not only expanded the horizons for collectors and curators but also enriched the cultural exchange between the East and West—something that continues to drive our mission today.”
In the current geopolitical climate, that mission feels more relevant than ever. Meanwhile, over the past few decades, Taiwan has developed a rapidly evolving and increasingly dynamic art scene. Now a key financial center, the island boasts a thriving cultural community, with a growing number of galleries, institutions and artists gaining international recognition. “The art market in Taiwan has always been strong, largely due to a long-standing tradition of collecting art. Many of the prominent collectors there have also established not-for-profit organizations that operate local museums, making art more accessible to the public,” Hung says. But the Asian contemporary art scene has steadily shifted toward a more global perspective. “It’s exciting to be a pioneer of this movement, particularly in being among the first galleries to introduce a diverse range of contemporary artists’ works to Taiwan.”
Hung believes this is a particularly significant moment for the Taiwanese art world, especially with the rise of innovative young curators who are reinvigorating the scene with dynamic, forward-thinking programming. “The Taiwanese curatorial landscape is becoming more independent, globally minded and vibrant, which bodes well for the future.”
Notably, Hung places a strong emphasis on the role of publications in fostering the transcultural circulation of artistic narratives, ideas and perspectives. “I’ve always believed in the power of writing. As a child, I envisioned a career as a writer, whether a novelist or investigative journalist. As my interest in the visual arts grew, I began reading everything I could,” she recalls. “While art has its own voice, good writing deepens our understanding, expanding the possibilities and interpretations of the work.”
For this reason, from the moment she opened her gallery in Taipei, Hung envisioned creating a gallery newspaper—a vision that materialized into a publication she now prints monthly. “The printed word has a lasting impact that digital media can’t replicate. However, I’m also mindful of the environment, so when we print something, it has to be meaningful. This is why we’ve invested so much time and energy into Nu Paper, and after a decade, it’s still going strong.”
In addition to Nu Paper, Hung has also invested in producing artist catalogues, constantly seeking new ways to better circulate artists’ work. “Our first book on Rodney Dickson is not just a typical catalog; we worked with a journalist to document his story over the course of a year, crafting a deeper narrative about his life and work. While we embrace traditional methods, we’re also exploring new ways to engage with our audience through these publications.”
Meanwhile, fostering experimentation and supporting emerging talent remains central to Hung’s vision. In pursuit of this, she recently transformed the gallery’s lower floor 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 not previously exhibited in the U.S., as well as established artists seeking to explore new mediums and concepts. “This flexibility allows us to maintain a strong roster while encouraging artists to experiment. In both New York and Taipei, our main gallery showcases artists with solid bodies of work, but the Project Space offers them the freedom to push boundaries.”
Looking ahead, the gallery’s 2025 program, “Asian Voices,” will spotlight works from Asia and the Asian diaspora through 2026. It will launch with an inaugural exhibition by the creative duo Alchemyverse, featuring a captivating and immersive installation that explores multisensory experiences through printed copper plates.
Upcoming highlights in the Project Space, as Hung revealed to Observer, include a painterly investigation by artist Guan Hon Lu of Taiwan’s social dynamics during the pandemic. In April, Mimian Hsu will present a new body of work exploring family history and philosophical themes of hybridity, while in June, Indian artist Purvai Rai will delve into memory and identity through multimedia work. Expanding the program’s global reach, the Project Room will host the work of Syed Hussain in October, addressing the identity and displacement of Hazara communities in Afghanistan and Pakistan. Closing out the year, Ning Fu will present a series of paintings critiquing the impact of social media on identity in the digital age.
Meanwhile, in the main space, the gallery’s spring programming will open in March with a solo exhibition by Cianne Fragione, featuring nearly thirty wall works that, as Hung describes, “offer valuable insight into her artistic practice and gestural innovations, and introduce several works from the past few years that have never been publicly shown.” In May, an exhibition of Kees Goudzwaard’s trompe-l’oeil paintings will follow. A notable group show in July will spotlight Indigenous artists from both the U.S. and Taiwan, featuring works by En-Man Chang, Labay Eyong, Lehuauakea and Roin Morigeau. Continuing the focus on Indigenous narratives, the fall season will open in September with a solo show by Caroline Monnet, who explores Indigenous identity and bicultural living through shifting cultural histories and industrial material processes. The gallery’s 2025 program will conclude with an exhibition by José John Santos III, whose practice interrogates the hidden significance of mundane objects, revealing their histories and challenging perceptions of everyday things.
Notably, the tariffs imposed under Trump’s trade policies pose a potential threat to the intercultural dialogue between Asia and the U.S. that Hung has worked so hard to cultivate. “At the moment, it is difficult to say how these tariffs will impact the exchange between the U.S. and Asia. To my knowledge, the new tariffs in Asia do not include artworks, but they do target materials commonly used in the creation of artwork and large-scale installations, such as metals, textiles and other specialized supplies,” Hung explains. “Any day this could change, and we will have to be ready for that to happen. We will be prepared and remain flexible to adapt to any new tariff regulations that arise.”
Despite these uncertainties, Hung remains convinced that the artistic and cultural dialogue between the U.S. and Asia will endure. “I am confident it will continue, as there is already a strong network of intellectual exchange that transcends borders,” she says. “As an international gallery with locations in both Taipei and New York, we are fortunate to have the opportunity to bridge these regions in meaningful ways,” she adds. “Moving forward, we’ll continue to build on our dual-location advantage and be mindful of the shifting landscape of international trade so that the flow of art, ideas and talent between these two regions remains uninterrupted.”
Looking ahead, Hung is optimistic. “I am approaching the future with a sense of openness and spontaneity. Still, one thing is certain: my team and I will continue to curate compelling exhibitions and foster creative exploration. I have deep faith in both the artists we represent and the gallery itself, and I believe that anything is possible. The unpredictability is one of the things I love most about working in the creative field. There’s always room for new ideas and unexpected opportunities.”
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