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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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.

Cianne Fragione's Mare Ionian (afternoon light) acquired by the Dallas Museum of Art

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Cianne Fragione, Mare Ionian (afternoon light), 2020-2022, oil-based paint, pigment, collage older works, beaded textile, and graphite on paper, 53 x 61.3 in | 134.62 x 155.7 cm (framed: 58 x 66.1 x 3 in | 147.32 x 167.89 x 7.62 cm)

Nunu Fine Art is pleased to announce that Cianne Fragione's Mare Ionian (afternoon light) has been acquired by the Dallas Museum of Art.

With roots in the San Francisco Bay Area Beat and Funk art milieus, Fragione has developed her own process-oriented artistic vocabulary over the past four decades that crosses boundaries between abstract painting and sculpture, and between object and image. Her signature style is characterized by striking combination of oil paint, mixed-media materials, found objects, and textiles. Each piece, whether two- or three-dimensional, is built slowly over lengthy periods, becoming a dense synthesis of influences and personal perspectives, including mid-century gestural abstraction and the physical fluency of her early training as a professional dancer. While a sense of space and movement dominates her two-dimensional works, her assemblage pieces tend to be denser and more corporeal. Her most recent works respond to two collections of poems by Italian poet and writer Eugenio Montale: Mediterraneo and Ossi di Seppia.​

In 2025, Nunu Fine Art New York presented What Remains, its first solo exhibition of Cianne Fragione.

Rona Pondick's Prairie Dog acquired by the Portland Museum of Art

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Rona Pondick, Prairie Dog, 2011-13, stainless steel, edition of 3 + 1 AP, 4 1/4 x 7 3/4 x 4 3/4 in, 10.8 x 19.68 x 12.06 cm.

Nunu Fine Art is excited to share that Rona Pondick's Prairie Dog has been acquired by the Portland Museum of Art in Portland, Maine through a generous gift from Antonio Homem.

Since she came to prominence in the late 1980’s, the New York-based artist has worked with fragments that evoke the body—such as shoes, baby bottles, and teeth—reconfigured into new psychologically provocative wholes. In the late 1990s, she produced the first of her hybrid sculptures that marry her own body parts with those of animals and trees. In Prairie Dog, Pondick continues this exploration of the human body as a site for metamorphosis and hybridity. The sculpture fuses human and animal parts into an ambiguous form that resists easy categorization. Cast in stainless steel, the reflective surface invites the viewer to reflect on the fluid boundaries between body and environment, self and other.

In 2021, Nunu Fine Art Taipei presented Rona Pondick: Sculpture, the artist's first solo exhibition in Asia.

Chiao-Han Chueh's She-wolf and Shida Kuo's Untitled 24-02 acquired by the Chazen Museum of Art

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Nunu Fine Art is delighted to announce the acquisition of Chiao-Han Chueh's She-wolf and Shida Kuo's Untitled 24-02 by the Chazen Museum of Art at the University of Wisconsin-Madison. Chief Curator Katherine Alcauskas remarks, "The Chazen Museum of Art celebrates the addition of works by Shida Kuo and Chiao-Han Chueh, enriching our diverse collection of Asian paintings, sculpture, and decorative arts. These striking artworks join contemporary masterpieces by Xu Bing, Xiang Jing, and Loretta Hui-Shan Yang, deepening the dialogue between tradition and innovation in our galleries."

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Hamburg-based Taiwanese artist Chiao-Han Chueh reflects on her experience of growing up in Taiwan and later living in the West as an Asian woman, contesting the normative gender constraints of women’s bodies and sexuality by portraying primarily nude female figures engaging in unbridled behavior within fantastical spaces. Her approach to oil painting has been shaped by canonical Western traditions and Chinese calligraphy and ink painting, which she learned at art school in Taiwan. Her work demonstrates the convergence of her personal experience and aesthetics, influenced by diverse artistic traditions.

Nunu Fine Art is pleased to have presented Chueh's first exhibition in the United States, Intimate Play, in 2023.

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Shida Kuo has developed a distinct vocabulary of biomorphic forms inspired by nature. Kuo subtracts from clay and wood until they are reduced to fundamental, richly tactile shapes. He sculpts entirely by hand and often embraces a time-consuming processes; as a result, the sculptures carry traces of their making and convey the simplicity and truthfulness of their materials.

Kuo is inspired by the shared experience of perception, and specifically by the phenomenon of people from different origins and backgrounds reacting to forms and materials in very similar ways. His work explores our human capacity to respond to emotional and spiritual impacts on a bodily or visceral level before such responses are processed in our mind. The materials he favors—ceramic and wood—have been used by various peoples for thousands of years, and as such, represent connections between cultures and generations. While his sculptures appeal to viewers visually through their puzzlingly unrecognizable curves, they also prompt the subconscious to search for forgotten—or perhaps even future—forms in them.

In 2024, Nunu Fine Art New York presented Shida Kuo: Selected Works 1993 to 2023, a survey exhibition of Kuo's works spanning three decades..

Thordis Adalsteinsdottir participates in Creative Responses at Akureyri Art Museum

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Nunu Fine Art is pleased to congratulate Thordis Adalsteinsdottir on her curatorial role in the exhibition “Creative Responses” at the Akureyri Art Museum. The exhibition opens on November 27, 2025 and runs through February 8, 2026. 

 The exhibition focuses on ideas drawn from a collection of articles titled “Creative Responses to Environmental Crises in Nordic Art and Literature” (2025) and centers around the role, responsibility, and significance of art and culture in the face of today’s accelerating environmental change. 

 A collaboration between the University of Iceland’s Thingeyjarsveit Research Center, Specta Gallery, and the Akureyri Art Museum, the exhibition is led by curators Thordis Adalsteinsdottir and Audur Adalsteinsdottir. The exhibition presents artworks discussed in the anthology, as well as works by additional artists whose practices resonate with its core questions. Together, these works shed deeper light on how art responds to ecological crises and the emotional and cultural issues arising from them. 

 

 Creative Responses  ｜Duration: November 27, 2025 - February 8, 2026  ｜Venue: Akureyri Art Museum, Iceland  ｜Opening Hours: 12 PM - 5 PM daily 

Mimian Hsu featured in inaugural exhibition of Lenguajes Errantes (Errant Languages) at MADC

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Nunu Fine Art is pleased to share that Mimian Hsu (b. 1980) is featured as one of the artists in the inaugural exhibition of the Lenguages Errantes (Errant Languages) program at the Museo de Arte y Diseño Contemporáneo in San José, Costa Rica. 

Hsu, a Costa Rican artist with Taiwanese heritage, explores cultural hybridity, migration, and identity through autobiographical, poetic, and non-figurative visual languages. Her practice interrogates the boundaries between cultures and selves, often through portraits, performances, and installations. 

In this inaugural exhibition, Hsu enters into dialogue with Costa Rican artist Elia Arce, and together they reflect on how their migratory paths unsettle fixed notions of belonging and identity—shifting away from a monolithic idea of “the Costa Rican” toward identities that are fluid and continually evolving. 

In a time where difference is criminalized and borders militarized, Hsu and Arce's work testifies that our shared humanity—and greatest richness—lies in empathy and diversity.

Lenguajes Errantes | Duration: November 8, 2025 - May 2026 | Venue: Museo de Arte y Diseño Contemporáneo (MADC), San José, Costa Rica | Opening Hours: Tues - Sat 10 AM - 4:50 PM

Kaspar Bonnén interviewed in Nordic Portraits podcast

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Kaspar Bonnen, The Raft, 2018, oil on canvas, 78 3/4 x 94 1/2 in | 200 x 240 cm

Nunu Fine Art is excited to share that Kaspar Bonnén was recently interviewed for the Nordic Portraits podcast. Hosted by the Copenhagen-based producer Ben Catford, Nordic Portraits engages Danish artists in conversations that explore themes ranging from professional insights to deeply personal experiences. 

In Bonnén's episode, the multi-disciplinary artist and writer—who works between painting, ceramics, installation, and poetry—discusses his upbringing, his early curiosity and search for an artistic language, and the role creative expression has played in processing trauma. He also reflects on his ongoing pursuit of personal growth and on the themes of memory, identity, and sense of place that continue to shape his practice. 

As Bonnén notes, "art was a place where I could... open up to these emotions and try to explain to myself what was really going on." 

Listen to the episode here.

Rona Pondick's Wallaby currently on view at Walker Art Center

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Rona Pondick, Wallaby, 2007-12, stainless steel, edition of 3 + 1 AP, 24 x 44 3/8 x 10 7/8 in (60.96 x 112.71 x 27.62 cm). All images credit to the artist.

Nunu Fine Art is thrilled to announce that Rona Pondick's Wallaby is currently on view in the Walker Art Center's exhibition, Sculpture Court. Sculpture Court brings together the works of nearly 40 artists who "radically reimagined what it means to represent the body, through a range of materials, scales, and formal interpretations." The exhibition explores—and derives its name from—the concept of the "sculpture court," transforming its Perlman Gallery to resemble the airy courtyards and gardens that have historically served as forums to present sculptural works since the 16th century. 

Curated by Henriette Huldisch, with Laurel Rand-Lewis, Huldsich shares that "the Walker's contemporary interpretation [of the historical sculpture court] takes visitors on a brief tour through the radical changes in representing the human figure over the course of the 20th century.”

Sculpture Court | Duration: October 18, 2025 - September 6, 2026 | Venue: Waker Art Center, Minneapolis, MN | Opening Hours: Wed, Fri - Sun 10 AM - 5 PM, Thurs 10 AM - 9 PM

Rona Pondick's Untitled Tree currently on view at Cornell University’s Herbert F. Johnson Museum of Art

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Rona Pondick, Untitled Tree, 1997, Cast-aluminum, Unique, Tree 180 x 180 x 168 in (457.2 x 457.2 x 426.72 cm) 3 x 4 x 4 1/2 in (7.62 x 10.16 x 11.43 cm) Collection of the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY, 2025. Gift of Sherry Vogel Mallin, Class of 1955, and Joel Mallin, Class of 1955

 

Nunu Fine Art is pleased to congratulate Rona Pondick on the recent installation of “Untitled Tree” at Cornell University’s Herbert F. Johnson Museum of Art.

“Untitled Tree,” a cast-aluminum sculpture created in 1997, will sit on the southwest lawn next to the I.M. Pei Building as part of the museum’s permanent collection.