Chiao-Han Chueh Presents New Residency Project at 18th Street Arts Center

Chiao-Han Chueh at 18th street arts center. courtesy of the artist.

Germany-based, Taiwanese artist Chiao-Han Chueh has begun a residency program at 18th Street Arts Center where she continues to develop painting as a system of action and perception. 
 
Chueh’s practice reflects upon her experience growing up in Taiwan and living in the West as an Asian woman, contesting normative gender constraints of women’s bodies by portraying primarily nude female figures engaging in unbridled behavior within fantastical spaces. Her approach to oil painting is both influenced both by Western academia and Chinese calligraphy and ink painting, therefore showing a convergence of her personal experience and aesthetics from diverse artistic traditions. 
 
During the residency, Chueh extends her research into medical imaging systems, including X-rays, anatomical diagrams, and spectral visualization, while further considering the potential of color as a visual language. Medical imagery is not treated here as a direct subject for representation, but is transformed through its blurred forms, heightened colors, and almost visceral visual intensity into a painterly grammar shaped by pressure, speed, material constraints, and bodily perception. 
 
Responding to the image-saturated visual environment of Los Angeles, the residency project examines how embodied experience, personal memory, and mediated images of the body may enter the work as perceptual structures rather than narrative themes. 

En-Man Chang Featured in the 25th Biennale of Sydney

Installation view of rememory, photo courtesy of the artist

Taiwanese artist En-Man Chang has been invited to participate in the 25th Biennale of Sydney, taking place from March 14 to June 14, 2026. Her presentation continues her sustained inquiry into colonial history, memory, migration, and Indigenous cultural regeneration. 

Curated by Hoor Al-Qasimi, the 25th Biennale of Sydney is titled Rememory, a theme that points to the revisiting, reconstruction, and reclaiming of histories that have been erased, suppressed, or forgotten. Through this curatorial framework, the Biennale understands memory as an ongoing cultural act, while considering how art can reopen the complex relationships carried by colonial history, local narratives, and lived experience. 

Born in Taitung and currently based in Taipei, En-Man Chang works across moving image, photography, installation, and collaborative practice. As an artist of mixed Indigenous heritage, Chang’s practice is rooted in her lived experience and cultural inheritance, and has long examined how Indigenous peoples in Taiwan negotiate shifting sociocultural landscapes and living conditions under modernization and urbanization. By excavating lost histories and narratives, she reconsiders the connections between personal experience, collective memory, and the wider world, while demonstrating the transformative potential of art. 

For the 25th Biennale of Sydney, Chang’s presentation continues the trajectory of her Snail Paradise series. Through moving image and installation, the work explores shared colonial experiences between Australia and Taiwan, as well as the possibility of Indigenous cultural regeneration after historical rupture. Interweaving personal memory, transregional migration, and ecological narratives, the work responds to the Biennale’s theme of Rememory and its questions of historical revisitation and cultural regeneration. 

The participation of Taiwanese artists in this edition is commissioned by the Biennale of Sydney and supported by the Taipei Economic and Cultural Office, Sydney. With support from Taiwan’s Ministry of Culture, the Taipei Economic and Cultural Office, Sydney has collaborated with the Biennale of Sydney to support the participation of four Taiwanese artists in this edition, presenting cultural narratives and historical reflections from Taiwan’s contemporary art in an international context. Through this presentation, Chang’s practice further brings the relationships between Taiwanese Indigenous culture, colonial memory, and contemporary artistic practice into broader international dialogue. 

Exhibition Information: 25th Biennale of Sydney, Rememory 
Venues: Various venues across Sydney, Australia 
Dates: March 14 – June 14, 2026 
Commissioned by: Biennale of Sydney 

En-Man Chang Participates in the Taipei Touring Exhibition “Breaking Ground: Art and Activism in Indigenous Taiwan”

Installation view of breaking ground: Art and activism in indigenous taiwan, photo courtesy of the artist.

Nunu Fine Art is pleased to share recent exhibition news of artist Chang En-Man, who is participating in the group exhibition Breaking Ground: Art and Activism in Indigenous Taiwan, on view at the Ministry of Culture Gallery from April 23 to August 21, 2026. Previously presented at the IAIA Museum of Contemporary Native Arts (MoCNA) in Santa Fe, New Mexico, the exhibition returns to Taiwan this year with a Taipei touring presentation. 

Co-organized by the National Taiwan Museum of Fine Arts and the IAIA Museum of Contemporary Native Arts, Breaking Ground: Art and Activism in Indigenous Taiwan focuses on activist practices in contemporary Indigenous art, exploring questions of coloniality, Indigeneity, identity, belief, land, survival, and social justice. Bringing together ten Taiwanese Indigenous artists and artist collectives, the exhibition presents how Indigenous artistic practices respond to colonial histories, global Indigenous issues, and contemporary social realities. 

As one of the key participating artists in the exhibition, Chang En-Man has long explored the living conditions and cultural memory of Indigenous peoples in Taiwan under the intertwined forces of modernization, urbanization, and colonial history. Working across moving image, photography, installation, and collaborative practice, Chang draws from her own lived experience and Indigenous background to uncover overlooked or lost historical narratives, connecting personal experience, local memory, species migration, and broader global Indigenous issues. 

Chang’s featured work, Snail Paradise Concerto – Chapter of Santa Fe (2025), continues her long-term Snail Paradise series. The version presented at the Ministry of Culture Gallery is made with paper mulberry bark, document transfer, and embroidery, measuring 400 × 100 × 50 cm, and was commissioned by the National Taiwan Museum of Fine Arts. Taking the African giant snail—originating from East Africa and listed among the world’s top 100 invasive species—as a medium through which to explore the world, the work interweaves species dispersion, human migration, and colonial history into a complex network. 

In Chang’s practice, the dissolving relationship between Taiwan-native paper mulberry and snail mucus points to the routes and traces left by the movements of plants, animals, and humans. Within these intersecting paths, the artist wanders in a mode akin to bardic storytelling and concerto, searching for voices that carry colonial trauma and historical remnants. Through Snail Paradise Concerto – Chapter of Santa Fe, Chang further places the movement of natural species alongside the historical experiences of Indigenous peoples, showing how Indigenous art may become a medium for responding to colonial realities, reconstructing cultural memory, and proposing forms of social action. 

Exhibition Information: Breaking Ground: Art and Activism in Indigenous Taiwan 
Venue: Ministry of Culture Gallery 
Address: 1F, South Building, Xinzhuang Joint Office Tower, No. 439, Zhongping Road, Xinzhuang District, New Taipei City 242030, Taiwan 
Dates: April 23 – August 21, 2026 

Caroline Monnet Presents “Threads That Remember” at the 2026 State of Fashion Biennale

Caroline Monnet, Threads That Remember, 2026, floor and roof underlayment, waterproofing and insulating membranes, sill gasket, polyethylene, tarpaulin, thread, grommets, 95⅞ x 168 in | 243.8 x 426.7 cm photo coutesy of the artist.

Nunu Fine Art is pleased to share that Canadian artist Caroline Monnet was invited by the Wereldmuseum (National Museum of World Culture) to undertake a residency in Nijmegen, the Netherlands. The residency brought Monnet’s Anishinaabe-French background and Indigenous methodologies into dialogue with fashion, material culture, local communities, and contemporary systems shaped by colonial histories.  

As an outcome of the residency, Monnet presents Threads That Remember (2026), a newly commissioned work now on view at Museum Arnhem as part of the 2026 State of Fashion Biennale, Available to Promise, from May 14 to June 28, 2026. Using industrial materials such as floor and roof underlayment, waterproofing and insulating membranes, polyethylene, tarpaulin, thread, and grommets, the large-scale work takes the shape of a traditional dress pattern, presented flat against the wall. 

While its display recalls museum modes of presentation, the form refers to a garment normally worn and animated through movement. In Anishinaabe contexts, the dress is associated with identity, cultural continuity, and relationships to land and community. Rather than replicating tradition, Monnet reinterprets it through contemporary materials, foregrounding Indigenous experience today and affirming cultural resilience across land, memory, and community. 

Threads That Remember was commissioned by Wereldmuseum, Nijmegen, in collaboration with the State of Fashion Biennale, Arnhem. 

Mia Westerlund Roosen’s "Ray IV" acquired by the Wright Museum of Art at Beloit College

Mia Westerlund Roosen, Ray IV, 1985, bronze and concrete, 40 x 40 x 34 in | 101.6 x 101.6 x 86.4 cm. Image courtesy of the artist studio.

Nunu Fine Art is honored to announce that Ray IV by American artist Mia Westerlund Roosen has officially entered the permanent collection of the Wright Museum of Art at Beloit College, where it will be installed in front of the museum’s main entrance as a new public art landmark. 

Born in New York in 1942, Westerlund Roosen has remained an active figure in American contemporary sculpture since the 1970s. Working across sculpture, painting, and public art, she explores the relationship between materiality, scale, and bodily perception. While her work developed within the contexts of Minimalism and Post-Minimalism, it does not fully adhere to their austere and depersonalized formal language. Instead, through the weight, texture, and structure of materials such as concrete and metal, her work reintroduces corporeality, tactility, and material experience. The acquisition of Ray IV not only marks an important milestone in the artist’s career but also adds a significant chapter to the museum’s collection of contemporary sculpture. 

Caroline Monnet’s "Kingdom" (2026) acquired by the Dallas Museum of Art

Caroline Monnet, "Kingdom," 2026, roof underlayment, polyester thread, 28 ¼ x 57 ½ in. | 71.8 x 146.1 cm

We are pleased to report the acquisition of Caroline Monnet’s "Kingdom" (2026) by the Dallas Museum of Art. Each year since 2016, the DMA selects works to enter the museum’s collection through the Dallas Art Fair’s Foundation Art Acquisition Fund. This year, "Kingdom" (2026) was announced on the opening day of DAF by Dr. Vivian Li, DMA Lupe Murchison Curator of Contemporary Art alongside works by Hasani Sahlehe, Gloria Klein, Raymond Saunders, and Nicole Eisenman.

"Kingdom" (2026) is an abstract triptych constructed of polyester thread on roof underlayment material. In using construction material, the artist references the housing crisis’ disproportionate effects on Indigenous populations in Canada, a social issue often discussed in her work. Caroline Monnet lives and works in Mooniyang/Montreal and originally hails from Canada’s Outaouais region. She is of Anishinaabe and French background and uses her work to communicate Indigenous identity through complex cultural narratives and to grapple with legacies of colonialism.

Ana Teresa Barboza’s work featured in “WE Are Becoming,” C-LAB (Taiwan Contemporary Culture Lab)’s 2026 annual exhibition

installation view of WE are becoming at c-lab, Courtesy of C-LAB. Photo by dulub studio.

Nunu Fine Art is pleased to share that works by Peruvian artist Ana Teresa Barboza are featured in WE Are Becoming, C-LAB (Taiwan Contemporary Culture Lab)’s 2026 annual exhibition, opening on May 8, 2026.

Centering on the concept of “becoming,” the exhibition approaches culture not as a fixed identity but as an evolving condition shaped through practice, action, and imagination. Bringing together works by artists from diverse cultural and material backgrounds, the exhibition reconsiders how cultural imaginaries may be continuously rearticulated within a contemporary context marked by multiple languages, communities, and technologies.

The presentation includes selections from Barboza’s long-term project Tropical Station: A Common Habitat, co-created with Rafael Freyre, and a group of textile and ceramic works developed through her research with plant-based dyes and weaving techniques. As an ongoing interdisciplinary project, Tropical Station: A Common Habitat brings together vernacular architectural knowledge from Peru’s northern coastal region, traditional craft practices, and contemporary digital technologies to explore new possibilities for coexistence between humans and ecological systems in a post-urban condition.

Extending this ecological line of inquiry, Barboza’s textile and ceramic works emerge from her field research in the dry forests of Piura, where she collaborates with local artisans and works with native plant dyes. Through weaving, natural pigments, and material processes, her practice translates climatic cycles, memories of rainwater, and local knowledge into a visual language that reflects the ongoing entanglement of landscape, memory, and embodied experience—resonating with the exhibition’s broader inquiry into how culture is continuously reshaped through lived practice.

Barboza’s practice proposes a way of reading grounded in process, positioning the works as an entry point for engaging with contemporary experience. We warmly invite audiences to encounter Barboza’s work as part of this unfolding dialogue between ecology, material practice, and collective futures.

WE Are Becoming
Dates: May 8 – August 16, 2026
Venue: C-LAB (Taiwan Contemporary Culture Lab), Taipei
Opening hours: Tuesday –Sunday, 12:00 – 19:00 (Closed on Mondays)

Guan-Hong Lu’s work featured in "Material Extensions" at the Taipei Fine Arts Museum (TFAM)

Installation view of material Extensions at Taipei fine art museum, photo courtesy of Taipei fine art museum.

We are honored to share the latest news of artist Lu Guan-Hong, whose work is featured in "Material Extensions" at the Taipei Fine Arts Museum (TFAM), widely recognized as the most iconic institution of contemporary art in Taiwan. 

Lu Guan-Hong’s practice excels at embedding playful irony within blurred narrative structures. By creating absurd juxtapositions of scenes and figures, he constructs a calm yet tense sense of humor. His work captures the fissures within everyday order, transforming familiar visual experiences into psychological fields of uncertainty. 

In "Material Extensions," Lu further explores how "matter" inversely intervenes and reshapes human lifestyles. Within a contemporary society defined by consumerism and symbolism, he uses a unique visual language to deconstruct the symbiotic relationship between humans and objects, production and consumption. He transforms the flow of materials into a black-humorist inquiry into our current state of existence. 

Material Extensions 
Venue: Galleries 2A & 2B, Taipei Fine Arts Museum  
Dates: May 1 – August 16, 2026

En-Man Chang’s Snail Paradise acquired by the Dallas Museum of Art

Installation view of Mapping Snail at Nunu Fine Art New York. Photo by MarTin Seck

Nunu Fine Art is pleased to congratulate Taiwanese artist En-Man Chang on the acquisition of her work, Snail Paradise, by the Dallas Museum of Art. This acquisition highlights the growing international recognition of Chang’s research-driven practice and her distinctive engagement with history, ecology, and cultural memory. 

Chang’s work often examines the entangled relationships between historical narratives, species migration, and cultural identity. Working across embroidery, video, and installation, she draws on detailed research to transform seemingly modest subjects into powerful lenses through which to reconsider colonial histories, global circulation, and Indigenous knowledge systems. 

Snail Paradise draws from the global dispersal history of the Giant African Land Snail. Native to East Africa, the species spread through colonial trade routes and became one of the world’s 100 most invasive species. In 1933, during the Japanese colonial period, officials introduced the snail from Singapore to Taiwan for food cultivation, its migration routes mirroring the cartographies of imperial expansion. Chang’s embroidered works incorporate plants associated with snail cuisine, rendered in cross-stitch as a way of imagining the preservation of cultural “traditions” for future generations. Cross-stitch is a traditional embroidery technique among some Indigenous Taiwanese communities, often featuring geometric and symmetrical patterns that signify social status, ancestry, and spiritual beliefs.  

The acquisition of Snail Paradise by the Dallas Museum of Art not only affirms Chang’s thoughtful translation of historical and cultural research into contemporary artistic language but also underscores her significant position within the international contemporary art landscape. 

Marta Katavić Participates in "8th Biennial of Painting" at Varaždin City Museum

Installation view of the 8th Biennial of painting. Courtesy of the arist

We are honored to congratulate Marta Katavić on her participation in the 8th Biennial of Painting at Varaždin City Museum. The exhibition is on view until 16 February 2026.

The Biennial of Painting at the Varaždin City Museum is one of Croatia's most significant national cultural events. It aims to highlight the potential and achievements of contemporary Croatian art while contributing to the formation of an important and representative body of national cultural heritage. This year, the biennial brings together works by around 70 Croatian artists, spanning from traditional painting to experimental contemporary practices. The exhibition offers viewers an intergenerational encounter and dialogue grounded in Croatian culture.

Marta Katayić (b. 2000) was born in Kriřeyci, Croatia. Working primarily with oil paint, stainless steel, and metal foil, she combines expressive brushwork with rich color to deliberately blur facial features and outlines, creating a visual tension that is at once figurative and enigmatic. She is an emerging contemporary artist whose work has begun to attract international interest.
8th Biennial of Painting

｜Duration: December 3, 2025 - February 16, 2026
｜Venue: Varaždin City Museum
｜Opening Hours: Tue-Fri 9 AM-5 PM / Sat-Sun 1 PM-9 PM, closed on Monday and public holidays.

Mimian Hsu’s No. 1674 Sección Administrativa acquired by The Phillips Collection

Mimian Hsu, No. 1674 Sección Administrativa, 2007, Embroidered Antique Silk Bed Cover, Document from the National Archive of Costa Rica, 64 x 45 in | 162.6 x 114.3 cm 

Nunu Fine Art is pleased to congratulate artist Mimian Hsu on the acquisition of her work No. 1674 Sección Administrativa (2007) by the prestigious American institution The Phillips Collection. This acquisition marks another important milestone in Hsu’s longstanding artistic engagement with themes of migration history and identity. 

Mimian Hsu is a Costa Rican artist of Taiwanese descent whose practice is deeply informed by her personal experiences. Through a poetic and often non-representational visual language, her work explores cultural hybridity, migration, and questions of identity.  

The acquired work, No. 1674 Sección Administrativa, originates from the artist’s research into the history of Chinese immigration in Costa Rica. The piece draws from a historical document—a letter written in 1907 by two Chinese immigrants who, following the implementation of restrictive immigration policies, petitioned the government for permission to bring their wives and children to the country. Hsu embroidered the full text of the letter in gold thread onto a traditional Chinese silk textile commonly used for newlywed bedsheets. The red fabric, symbolizing happiness and marriage, together with the gold thread, representing value and prestige, reinforces the cultural symbolism of the materials while amplifying the text’s themes of family reunification, fundamental rights, and human dignity. 

The acquisition of No. 1674 Sección Administrativa not only highlights Hsu’s significant contribution to contemporary dialogues on migration and cross-cultural histories, but also further affirms the international recognition of her artistic practice. 

Ishmael Randell-Weeks' work on view at Carpenter Center, Harvard University

Installation view of Signal and Strata. Courtesy of carpenter center, photo by julia featheringill

Nunu Fine Art is honored to announce and congratulate artist Ishmael Randall-Weeks on his participation in the group exhibition Signal and Strata, which opened on February 5 at the Carpenter Center for the Visual Arts at Harvard University. 

Signal and Strata brings together the practices of three Peruvian artists — Elena Damiani, Ximena Garrido-Lecca, and Ishmael Randall-Weeks. Through works that are materially rich, architecturally inflected, and frequently referencing pre-colonial forms, the three artists explore the complex and intertwined relationships between land, history, and resource extraction. By placing their practices in dialogue, the exhibition further addresses issues of environmental change and cultural displacement, inviting viewers to consider how systems of power and belief are constructed, eroded, and reimagined within and through material. 

Randall-Weeks is represented in the exhibition by key works including Círculo concreto and Código Atemporal #83. Composed of found and reclaimed materials such as copper, cement, brick, rubber, and soil, these works are reconstituted through a highly labor-intensive process into hybrid architectural forms. Through this practice, the artist gives embodied form to cycles of production and decay, while offering a critical reflection on narratives of progress, urbanization, global supply chains, and material culture. 

Peter Zimmermann's Palladium acquired by The Metropolitan Museum of Manila

Palladium, 2022, epoxy on canvas

Nunu Fine Art is pleased to announce the donation of Palladium, a work by German artist Peter Zimmermann, to The M Museum in Manila, Philippines, where it will enter the museum's permanent collection. 

Born in 1956 in Freiburg im Breisgau, Germany, and currently based in Cologne, Zimmermann began his artistic career in the 1980s. Using the covers and titles of atlases, art books, travel guides, and dictionaries as source material, he developed his signature "Book Cover Paintings," transforming these images into visually striking abstract works through the use of oil paint and epoxy resin. Through the layering of colors and the fluid qualities of his materials, Zimmermann creates large-scale works of deep luminosity and rich complexity, in which seamlessly blended gradients of color are rendered on aluminum composite panels to produce an effect that is almost liquid in appearance. 

Palladium was exhibited at Nunu Fine Art Taipei in 2023, where it received widespread attention. As part of the two-city exhibition Painting Rules, co-organized by Nunu Fine Art and The M Museum in Manila, audiences were invited to experience the work firsthand and to reconsider the formal language and perceptual experience of contemporary painting at a time of rapid transformation in the production and consumption of images. The acquisition of Palladium marks a significant milestone in the artist's career and adds an important chapter to the growing landscape of contemporary art collections across Asia. 

Ana Teresa Barboza participates in an exhibition presented by Sesc Tijuca and Instituto Artistas Latinas in Rio de Janeiro

Photo credit: gabriela Saes y thais monteiro

Nunu Fine Art is pleased to congratulate Peruvian artist Ana Teresa Barboza (born 1981, Lima) on her participation in Tecendo Histórias – Arte Têxtil Latinoamericana, an exhibition presented by Sesc Tijuca and Instituto Artistas Latinas in Rio de Janeiro. The exhibition opened on March 14, 2026, and will remain on view through June 14, 2026. 

Tecendo Histórias – Arte Têxtil Latinoamericana brings together artists from Brazil, Argentina, Guatemala, and Peru. Through diverse textile practices, the exhibition highlights the cultural strength of Latin American textile traditions and the agency of women artists who engage ancestral techniques in dialogue with contemporary issues. Taking textile material as a point of departure, the exhibition positions fiber as a medium embedded with memory, lived experience, and symbolic meaning. Through the interweaving of threads, layered structures emerge in which everyday life and ritual traditions intersect. Within these works, ancestral knowledge and textile structures are reinterpreted through the lens of contemporary art, serving not only as witnesses to historical experience but also as expressions of ongoing creative vitality and cultural resilience. 

Ana Teresa Barboza’s practice explores transformations of the natural landscape through textile media. Working with fibers from diverse origins, she approaches weaving not merely as a technique but as a language capable of connecting territories, ecosystems, and artisanal practices. In the works presented in this exhibition, Barboza combines embroidery, weaving, and photography to reveal the interdependent relationships between living beings and their natural environment, emphasizing the networks that sustain ecosystems as well as the processes of continuous growth and transformation found in nature. 

Tecendo Histórias – Arte Têxtil Latinoamericana 

｜Dates: March 14 – June 14, 2026 
｜Venue: Sesc Tijuca - R. Baron of Mosque, 539 - Tijuca 
｜Opening hours: Monday–Friday, 10:00 AM – 8:00 PM 

”Peter Zimmermann: Painting Rules“ opens at the Metropolitan Museum of Manila

Image courtesy of the Metropolitan Museum of Manila.

Nunu Fine Art is honored to collaborate with the Metropolitan Museum of Manila (The M), Philippines to present ”Painting Rules“, a solo exhibition by German artist Peter Zimmermann (b. 1956). This exhibition marks Zimmermann’s first solo presentation in the Philippines. ”Painting Rules“ will open at the Metropolitan Museum of Manila on February 4, 2026, and will subsequently travel to Nunu Fine Art Taipei from April 11.

”Painting Rules“ centers on Zimmermann’s newly developed sticker-based installation works, presented alongside a new body of epoxy paintings. Together, these works reflect a significant shift and experimental turn in his recent practice. Through this dual presentation, the exhibition invites viewers to reconsider painting within a contemporary context shaped by the rapid evolution of digital imagery and artificial intelligence.

”Peter Zimmermann: Painting Rules“

｜Venue: Metropolitan Museum of Manila, Philippines

｜Exhibition Dates: February 4, 2026 – April 30, 2026

Rona Pondick’s Dog on view at Sonnabend Collection Mantova

Dog, 1998-2001, yellow stainless steel, edition of 6 + 1 AP, 28 x 16 1/2 x 32 in

Nunu Fine Art is delighted to share that Rona Pondick’s Dog is currently on view at the Sonnabend Collection Foundation, which opened at the Palazzo della Ragione in Mantua, Italy, on November 29, 2025. The Sonnabend Collection has traveled extensively for many years to museums across Italy, Portugal, Canada, and the United States, and has now found a permanent home in Mantua. Shaped by the visionary gallerist Ileana Sonnabend together with Michael Sonnabend and Antonio Homem, the collection bridges American and European art, presenting some of the most significant works of the 20th century. Housed in the historic heart of Mantua, it celebrates the power of art to transcend borders and illuminate our time.

Rona Pondick’s Dog will be presented beginning in early March in the group exhibition Ascendancy: The Self in Contemporary Art at the Mattatuck Museum in Waterbury, Connecticut. The work is shown courtesy of the Sonnabend Collection and Nunu Fine Art. Curated by Camilo Alvarez, the exhibition is accompanied by a fully illustrated catalogue.

Rona Pondick’s Seat acquired by the Art Institute of Chicago

Seat, 1990, wood, wax, epoxy modeling compound, shoes, lace, Unique, 17 1/4 x 16 1/2 x 16 in

Rona Pondick’s Seat is now in the collection of the Art Institute of Chicago. This is the second sculpture of the artist’s to enter the museum’s collection. Created in the early 1990s, Seat is among of a group of works Pondick produced during this period that explore chair forms that integrate shoes at the legs while evoking the human body through their voluminous, anthropomorphic forms.

Rona Pondick’s Crimson Queen Maple acquired by the Nelson-Atkins Museum of Art

Crimson Queen Maple, 2003, stainless steel, patinated bronze, and riverbed rocks, Unique 58 x 141 x 89 1/2 in

Rona Pondick’s Crimson Queen Maple is now in the collection of the Nelson-Atkins Museum of Art. This marks the third sculpture of the artist’s to enter the museum’s collection. Crimson Queen Maple, a stainless-steel sculpture of a maple leaf plant, features small human heads at the tips of its branches and is a striking example of the artist’s sustained exploration of the convergence of human and natural forms throughout her career.

Guan-Hong Lu's Apocalypse Now: From Cradle to Grave acquired by Pérez Art Museum Miami

Guan-hong Lu, Apocalypse Now: From Cradle to Grave, 2024, oil on canvas, 47 1/4 x 63 3/4 in | 120 x 162 cm

Nunu Fine Art is pleased to share that Guan-Hong Lu's Apocalypse Now: From Cradle to Grave has been acquired by Pérez Art Museum Miami. In this work, Lu engages themes of absurdism, lingering violence, and the faceless power of media to create a rich scene that explores both the relationship between the depicted characters, and the contrast between the characters and their surrounding environment. Through his meticulous attention to detail, Lu creates a powerful image that invites the viewer to reflect on their own perceptions of cultural difference. His keen understanding of color and texture results a piece that is not only culturally resonant and narratively strong, but also visually compelling and complex.

Through intentional misplacements, Guan-Hong Lu's work poses questions about the media's role in shaping narratives. By examining the processes of creating and consuming images, he reveals how meaning can be distorted, misinterpreted, or even lost, yet can simultaneously give rise to something unintended and thought-provoking. He intertwines a sense of richness with banality, inviting viewers to see the essence of everyday life from alternative perspectives. His work captures the absurdity and tension of living in an era of contradictions—fragile yet resilient, connected yet distant.

Lu's Apocalypse Now: From Cradle to Grave was featured in his solo exhibition, View From My Window, on view at Nunu Fine Art New York | Project Space in 2025. Nunu Fine Art looks forward to presenting a solo exhibition for Lu at the newly-renovated Taipei gallery in August 2026.

Ning Fu's Supa Lonely acquired by the North Dakota Museum of Art

Ning Fu, Supa Lonely, 2023, acrylic on canvas, 51 1/8 x 51 1/8 inches | 129.9 x 129.9 cm

Nunu Fine Art is excited to share that Ning Fu's Supa Lonely has been acquired by the North Dakota Museum of Art.

Ning Fu’s work utilizes images as both form and source material to create her paintings. Most of these images are not produced by her; rather, she sources existing documentation and images that are easily accessible online. This deliberate approach reflects a distinctly contemporary experience, mirroring the illusion of ease with which our private lives are circulated in the public realm of the internet. Fu is interested in how, through the proliferation of social media, online images construct a new reality—one in which our physical experience and surroundings are no longer the primary factors in shaping our identities. ​

Ning Fu was featured in the 2024 group exhibition, In the Moment: Six Artists from Taiwan, at Nunu Fine Art New York.