In Korea, shamanism has existed long before Buddhism and Christianity. The shaman, or mudang, acts as a bridge between the spirit and earthly worlds. Often deceased ancestors, the spirits are equally likely to bring mishap as they are good fortune. A mudang is brought in to determine who the spirit is and to calm it. Through a ceremony called kut, they try to create peace and balance between the spirit and the affected.
Through her portraits, Ms. Chon strives to do the same. Of a stunning piece of a figure surrounded frightening-looking creatures, she writes:
SPIRIT DREAMS explored the interweaving of ancestry and diaspora, the past and the present, traditions and contemporary life. In the way that the mudang acts as a bridge between the spiritual and mundane so Ms. Chon's work connects generations across space and time.
Like a confidence between friends, intel given off the record, or a shared history or experience, this exhibition was “just between us.” The phrase evokes the major principles that form the bedrock of Huang’s collecting ethics: that art should circulate outside the nefarious concerns of the market, that it should not seek approval from heteropatriarchal white institutions, and that a secret language in the form of gossip and complaint forges the most precious and intimate of friendships.
The works on view narrated both historic and deeply personal moments. His collection traces his time in the Asian American arts network, Godzilla, and the Chinatown-based collective Basement Workshop. Featured artists included Tomie Arai, Ken Chu, Corky Lee, Alex Paik, Hoyt Soohoo, Bob Hsiang and Martin Wong. As the owner of the frame shop Squid Frames, Huang kept longtime correspondence with conceptual artist Sol Lewitt.
Curated by Howie Chen and Danielle Wu, “Just Between Us” was presented in partnership with Think!Chinatown.
A catalog published by Pearl River Mart and Think!Chinatown with an essay by Danielle Wu and an interview between Howie Chen and Arlan accompanied the exhibition. The exhibition is made possible thanks to support of the State of New York and New York State Council on the Arts. It is also supported, in part, by the Lower Manhattan Cultural Council.
Like the iconic scene in which two almost-lovers cross paths in a narrow passageway under bare lights, Huang's work can be found in Chelsea Market's winding halls. Paintings such as Ember (2019) and Even in the Dark with My Eyes Closed (1990) are steeped in the hot potential of an intimate encounter: whether romance, friendship, or political solidarity.
]]>“We’re so excited and honored to present Warren’s incredible work,” said Pearl River Mart President Joanne Kwong. “I couldn't believe my eyes when I learned that his creations of fine art were made out of humble cardboard. Warren's ability to see beauty in everyday people, coupled with his love for Chinatown and showstopping craftsmanship, has manifested into an exhibition that elevates our community and highlights the elegance and art all around us everyday."
“I only recently started living within walking distance of New York’s Chinatown, but I’ve always had a fascination with the rich community there,” Mr. King said. “Growing up in Wisconsin without much of an Asian community left me with a perpetual feeling of disconnection, but when I go on my weekly trips to Chinatown, that feeling evaporates. In the past few years, I’ve been absorbing all the details of the people and places that I see, trying to build up my sense of familiarity with the shopkeepers, the vendors, the buildings, and the park. To make it feel like home. Making these sculptures is just part of that journey.”
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These neighborhood fixtures, from the oldest (Transfiguration Church, first established in 1801) to the newest (Yu & Me Books, opened in 2021), run parallel to the history of Manhattan's Chinatown — from its establishment in the 1870s as Chinese immigrants, facing discrimination elsewhere, clustered on a handful of streets, to rising in a world redefined by a pandemic and renewed economic hardship, xenophobia, racism, and violence.
To Sammy, the name “Drawn Together” has great significance. “Although these are my pieces, I couldn’t have done the show without the Mott Street Girls, Asian American Arts Alliance, and Pearl River Mart,” he says. “It’s really about all of us working together to heal and make a brighter future.”
A portion of the proceeds from this exhibition goes back to these Chinatown businesses and to the Chinatown Mural Project, a not-for-profit dedicated to bringing culturally appropriate large-scale murals to the NYC Chinatown area and beyond.
It featured women-identifying artists who share a love for contemporary art and traditional craft. Their work delved into the idea of “soft solidarity,” a kind of loose unity unconstrained by background, location, or socioeconomic status, and how seemingly contrasting attributes can exist simultaneously and in harmony — softness and strength, pliability and power, delicacy and danger.
SOFT SOLIDARITY was on view at two sites: Chelsea Market, May 14 to June 6Pearl River Mart SoHo Gallery, May 18 to August 28
For artist Nancy Pappas, food represents rediscovery. As an artist and traveler. A midwesterner, New Yorker, and ex-pat. A Korean adoptee and Korean American. It's about getting back to her roots — those first simple ingredients that come together to make a complex whole.
The pieces in this show represent some of those ingredients. Like red chili and napa cabbage, the bases for that quintessentially Korean dish, kimchi. Or the persimmon, a Buddhist symbol of transformation, changing from bitter to sweet as it ripens. For Nancy it's a reconnection to her homeland. "My first morning with my birth mother," she says, "I found her outside pulling persimmons off the tree. She tossed them to me to catch in a bucket. It was strange — we were strangers — but this mundane chore felt so welcoming and home-like, all at the same time."
Also represented are foods traditionally eaten during Lunar New Year — an important holiday in Korean culture — meant to bring good luck in the future. Like tteokguk, rice cake soup which represents purity, prosperity, and growing one year older. Mandu, dumplings that embody good fortune. Japchae, glass noodles symbolizing long life.
Browse these works. Learn their meanings. Work up an appetite. And perhaps reflect on your own journey and (re)discover who you are.
Nancy Pappas is a freelance illustrator, designer, and South Korean adoptee based in Brooklyn, New York and Seoul, South Korea. Her approach to her work is the result of her travels, filled with connection, culture, and food. She’s focused on supporting Black, Indigenous, and POC people, women, and companies in food, their businesses, publications, and projects.
Recently, she was the art director and designer at Cherry Bombe, a food media magazine celebrating women in the food industry, and spoke at the 2019 Jubilee Conference. She has contributed to other small publications and has been featured in Eater, Chowhound, and Peddler Journal. Outside of editorial, her diverse clientele spans music, food, and fashion, such as Cravings™ by Chrissy Teigen, Saveur, Talisker Whisky, Conde Nast, Refinery29 and Warner Music Group for Cardi B. Nancy is represented by Leigh Eisenman at Wolf Literary.
Established in 1974, the Asian American Arts Centre (AAAC) is one of the earliest Asian American community arts organizations in the country. Choreographer Eleanor Yung (an original member of the seminal collective Basement Workshop) co-founded AAAC as the Asian American Dance Theatre (AADT) with the support of her partner Bob Lee, who would become the eventual director.
The AADT offered dance lessons and some of the earliest Asian American contemporary dance performances. Initially operating out of the New York Public Library, they soon established their own facility in Manhattan Chinatown, and eventually grew to include a visual arts program. In 1987, the dance theatre and visual arts program evolved into the AAAC. Through these changes and evolutions, the mission always remained the same: to promote and support Asian American art and artists.
All the while Lee was collecting artwork — sculptures, drawings, and paintings spanning nearly 40 years of exhibitions and programming. Today, the collection totals about 300 contemporary Asian American art works and about 200 Chinese folk art pieces. This exhibition, co-curated by Lisa Yin Zhang, Simon Wu, and Jayne Cole, highlighted just some of this vast collection, sweeping through the history of the storied organization with select works from 18 artists.
The title HEARTMIND was inspired by conversations between the curators, the presenters, and Lee, specifically about Sung Ho Choi’s collage of a Chinese character, which engages what Lee calls the “heartmind” of Asian Americans. The work depicts the character 心 , which in simplest terms translates into English as “heart,” but in Chinese means so much more — feeling, thinking, center, core — and often all at once. So too is “Asian American art”: on the surface a simple term but upon closer look, varied and complex, with multiple facets and phases, many things at once, and ever evolving.
Through intergenerational perspectives, the AAAC collection has evolved as well. Lee says, “To have hundreds of paintings, drawings, and sculptures of the permanent collection be made accessible to young curators, enabling them to choose which artworks they find meaningful, is a special moment. Works that didn’t seem to have significance suddenly do through their eyes.”
HEARTMIND adopted a broad understanding of portraiture, displaying significant people, places, and ideas within the two collections. Portraits included Tseng Kwong Chi’s self-portrait, Corky Lee’s photograph of a pair of white police officers during a Chinatown celebration, and Basement Workshop director Fay Chiang’s portrait of her father. Also on view was the first work Lee ever added to AAAC’s permanent collection, a drawing by Carrie Yamaoka, as well as a drawing by Lee himself, as a personified vision of the AAAC collection.
At One Pike, on the other side of Chinatown, was a companion exhibition that further engaged the history of AAAC and the New York City Asian American arts community. Together, these two exhibitions represented only the first of a long-running intergenerational engagement with a vast, enlightening, and idiosyncratic collection.
BOB LEE |
LEH CHYUN LIN SUNGMI NAYLOR |
The exhibition is organized by the following themes:
Lisa Yin Zhang is an art historian, curator, and writer from Queens, New York. A graduate of Williams College and Stuyvesant High School, she is currently senior staff writer at TheGuide.art, and has previously held positions at the Museum of Chinese in America, the Noguchi Museum, The Museum of Modern Art, and more.
Simon Wu is a writer and curator based in Brooklyn. He serves as the Program Coordinator for the Racial Imaginary Institute and is an alum of the Whitney Independent Study Program.
Jayne Cole is a contemporary art historian based in New York City. Her research focuses on the intersections of art, architecture, and urbanism in Lower Manhattan in the late twentieth century.
Bob Lee is the longtime executive director and co-founder of the Asian American Arts Centre. Born in Newark, New Jersey, Lee moved to New York City in 1970, where he studied art history at the City College of New York and became involved in Asian American community organizations including Basement Workshop, where he and Eleanor Yung met. He was a founding board member of the Asian American Arts Alliance and is currently a board member of Think!Chinatown.
Think!Chinatown is an intergenerational nonprofit that supports Manhattan’s Chinatown through art, storytelling, and neighborhood engagement. Chinatown Arts Week is their annual cultural festival of art, food, performances, and installations to connect the grassroots arts of Chinatown with emerging API artists and a wider audience. Visit www.thinkchinatown.org and follow on Instagram at @thinkchinatown.
It's almost impossible to think of modern Asian American history without thinking of the legendary Corky Lee (1947–2021). He was there at every key moment for the last 50 years, from protests stemming from the 1982 murder of Vincent Chin to students demonstrating for ethnic studies in the 1990s to an epic gathering of his making of the descendents of Chinese railroad laborers in 2014.
He humorously referred to himself as the “undisputed unofficial Asian American Photographer Laureate,” but that indeed he was. Making the invisible visible. Capturing moments both historic and everyday, political and personal. Combating injustice and wielding justice with every snap of his camera.
Corky started his photography career in 1971, the same year Pearl River was founded. He and the Chens were part of the same activist community centered around 22 Catherine Street, the building that housed both the pioneering collective Basement Workshop and the very first Pearl River Mart store. When we relaunched Pearl River in 2016, and created what is now the city’s only Asian American art gallery, Corky was of course there too. As one of our first artists-in-residence, his exhibition, “Chinese America on My Mind,” set the bar high for all those who followed. He set the tone for the gallery itself, which became a warm and inspiring hub for the many and varied perspectives, stories, and experiences of the Asian American community. He showed his support and enthusiasm for his fellow artists, inspiring, mentoring, and encouraging many friends to exhibit.
As we reopened our gallery, it seemed only fitting that Corky help us rebuild yet again. Curated by artist and friend Chee Wang Ng, photographer and longtime partner Karen Zhou, and Pearl River President and friend Joanne Kwong, this exhibition brought together 21 photographers — friends, colleagues, mentees — to pay homage to Corky’s philosophy of “photographic justice,” honor his work, and share pieces he would have loved.
Included in the exhibition were a tribute wall and table where friends, colleagues, admirers, and fans could share their personal memories of Corky. View the photos and notes. Read essays by:
We were so honored to welcome the artists and friends and family for a private reception on June 10. On June 12, we hosted an artist meet-and-greet for the general public. Follow us on Instagram or sign up for our newsletter to learn about possible future events.
The exhibition featured emerging Asian American artists working in the United States who are examining the past and present in order to imagine new futures through their work. With the rise and increased focus on anti-Asian racism and violence across the country, conversations around safety and survival are key to ensuring that everyone in our communities can thrive. Questions have arisen about who we are, what it means to belong, and how we all might move forward as a community while at the same time acknowledging our multiplicities.
Each artist’s work plays a part in the rise of a new Asian America that we are forming during this critical time of uncertainty. When brought together, these artists’ works offer a small vision for the emergence that we can practice.
Curator Kelly Lan never learned about such figures as she was growing up in Bucks County, PA. In fact, she didn’t see much of herself in anything around her. “In school, we never talked about Asian American history or Asian American figures,” she says. “Things like the shape of my face and eyes bothered me. Mascara commercials didn’t apply to me. And I didn’t have the resources to help deal with those feelings. I just want to provide those resources that I didn’t have.”
That’s why she created Hello Prosper, an educational organization that strives to use storytelling and creative expression to empower children, teens, and young adults with knowledge. This exhibition was the manifestation of that mission. Through the gorgeous and striking paintings of Chinese German artist Bo Feng Lin, AGAINST ALL ODDS shared the amazing stories of some incredible Asian and Asian American women who strove against institutional barriers and adversity to make their marks and achieve their dreams.
Check out a virtual tour below from Kelly and Bo, and moderated Pearl River President Joanne Kwong.
You can learn more about Kelly in our interview with her, and find out more about Bo at his website.
]]>In the 16th-century Chinese novel Journey to the West, a monk named Tang Sanzang is tasked with bringing back sacred Buddhist texts from Central Asia and India. To protect him are three companions: Zhu Bajie or Pigsy, Sha Wujing or Sandy, and, most famously, Sun Wukong or the Monkey King.
In A CHINATOWN ODYSSEY, Ma plucks these legendary characters out of a fantasy world and places them in 1980s Manhattan Chinatown. Instead of monk’s robes, they wear hoodies and jeans. Instead of demons and other uncanny spirits, they encounter dim sum cart ladies, fish vendors, and some very angry arcade owners.
At the same time, they — and the artist — celebrate NYC Chinatown. From historic Doyers Street to beloved 69 Bayard to the legendary Chinatown Fair arcade.
Learn more about the artist in our interview with him and check out more pics from the exhibition and opening reception.
]]>The “babies” in this exhibition are from 10 cartoonists of Asian descent who have been published in The New Yorker. Some of the cartoons have appeared in the venerable magazine; others are the artists’ favorites. Still others best represent their worldviews.
The artists themselves are also babies: young in age or in their careers. Sometimes both. They’re from all over the United States (California to Texas to New York), Canada, New Zealand, and Singapore. They explore a wide variety of topics. From “mundane” everyday life to identity. Inclusivity and exclusivity to society and culture. The world of nature and the world of working. Some of their cartoons are absurdist. Others will make you think twice. All will make you laugh.
Included in this group of Asian “babies” is an artist who might be considered the father of Asian New Yorker cartoonists: Monroe Leung. Born in Los Angeles, CA in 1915, he worked as an artist for the Warner Brothers cartoon studio and an architectural renderer for several advertising companies. His cartoon in The New Yorker was published in 1949.
The inclusion of Leung’s works reminds us how few Asian cartoonists of his era there were. The past few years have seen an explosion of talent and a wider variety of artists, giving birth to a new generation of cartoonists whose voices are equipped to inspire the next one.
CURATORS
ARTISTS
Instead of letting trash go to “waste,” Suzette says, much of it can be repaired, reused, or recycled. Such is the philosophy behind her jewelry collection in her exhibition, FROM TRASH TO TREASURE. It began with pieces her clients no longer wanted. Rather than throw them out, she supplemented them with parts she found in flea markets, second-hand stores, and trading posts — turning others’ trash into renewed treasure.
Included in the exhibition were Suzette's hanging "trash calendars." In January of this year, she began to track how much trash she produced with the goal of reducing that amount.
Accompanying the collection and calendars as TRASH IN NYC, a collection of photographs from Alfonso Sjogreen, documenting waste throughout the city.
The photographs served as a reminder of how much we consume, how much waste we produce, and how we often live side by side with what we've thrown away.
During Suzette's opening reception, we were treated with a special "trash mob" performance from the renowned German dance group, CocoonDance, as choreographed by the group's director, Rafael Giovanola-Endrass.
The proceeds of Suzette's collection went to benefit Plastic-Free Nam Ou, which aims to set up garbage collection, recycling, and a disposal system in Muong Ngoi, an idyllic village in Laos which threatens to be overrun by waste from their booming tourist industry.
Learn more about Suzette in our interview with her.
]]>Architect Philip Poon’s exhibition, SHARED SPACES, invited viewers to imagine how people of diverse backgrounds might occupy the same physical space and explored the possible conflicts and harmonies that might arise.
The exhibition came in three parts:
Consisting of three connected arches that represent Manhattan Chinatown’s symbiotic past, present, and future, the Chinatown Gateway invited viewers to share the space defined by the arches with the multiple generations and people in Chinatown.
Different from every angle, the gateway is complex and changing, much like Chinatown and the culture within it.
In 1996 Keshia Thomas, an 18-year-old African American woman, used her body to protect a man with an “SS” tattoo and a Confederate flag T-shirt from being beaten by a mob.
She chose to intervene, believing that a fellow human being did not deserve violence despite his intolerance of her. The roof is an abstraction of her body, covering the Robert. E. Lee statue that was at the center of the Charlottesville debate.
The statue is public but cast in shadow, letting people of all backgrounds and viewpoints share the darkness of the space.
These photographs and images explore the ways people are currently occupying certain spaces in the changing landscape of Manhattan’s Chinatown.
Many of the images simply document existing conditions. Is it awkward? Normal? What would alternatives be? How could we better share space, in Chinatown and beyond?
Learn more about Philip in our interview with him.
]]>These are some of the questions screenwriter, creative strategist, and activist William Yu explored in #StarringJohnCho: The Call for an Asian American Lead.
Featuring the campaign's Photoshopped movie posters, as well as videos from Yu's sequel video project #SeeAsAmStar, the exhibition not only invited you to imagine what an Asian American leading man or woman looks like — it showed you with stunning visuals and an interactive portion that makes you the hero of your own story.
Learn more about William in our interview with him.
]]>In the surreal and mind-bending images of WORLD OF ONE, photography Johnny Tang explored themes of individuality, conformity, and otherness. Using himself as the only model (yes, that’s all Tang), he juxtaposed contrasting actions and emotions in the same frame, representing different facets of the same personality. “These pictures are of me,” says Tang. “But they are not really about me. They combine philosophical concepts with surrealist aesthetics to build a portrait of how we develop our identities.”
His photographs were all shot on 35mm film. “The colors present in film (and absent in digital photography) remind me of pictures from my childhood,” he says “The color of the film is also nostalgic for an aesthetic of a different time, crucial to making the dreamlike world Iʼm presenting seem all the more familiar.”
Tang was inspired by Western and Asian philosophies and traditions alike, from surrealist photographers such as Man Ray, Salvador Dali, and Lee Miller to Chinese scroll paintings to Japanese manga. In this way, he pays homage to both his cultural backgrounds — Asian and American — which come together to create something new, and something uniquely Asian America.
Learn more about the artist in our interview with him.
]]>But they also have much in common. They’re both artists. They’re both close with their families but at the same time feel a distance between themselves and older generations. They both want to close that distance and hoped their exhibition would help do that.
Through abstract paintings and traditional Cantonese opera costumes, CLOSING DISTANCES explored what it means to be Asian American, whether born here or not. The works played off each other: the paintings reminiscent of silk dress patterns and long ago Chinese banquets, the costumes full of history and meaning, not just about Chinese culture but Chinese culture in America.
They also represent dichotomies — contemporary versus traditional, new versus historical, made in America versus made in China — but have just as many commonalities. The deep infusion of memory, the longtime influence of culture, the closeness and distance, sometimes simultaneously, with family.
The artists hoped CLOSING DISTANCES provided a place for those dichotomies and commonalities to intersect, and for different generations, cultures, and viewpoints to come together.
Learn more about the artists in our interview with them.
]]>Their work drew from four years of ethnographic research and oral history interviews with the Chinese diaspora that spans nine countries and 13 cities, including: New York City, San Francisco, Boston, Los Angeles, Vancouver, Seattle, Lima, Havana, Johannesburg, Guangzhou, Ho Chi Minh City, Singapore, and Sydney.
Using photographs, oral histories, and multimedia archives, they highlighted stories of migration, displacement, and everyday resilience in Chinatowns around the world. For instance, Dorothy Quock, a longtime resident of San Francisco's Chinatown.
An archivist and tour guide for Wok Wiz Chinatown Tours, she lives by the philosophy of “conserve / reuse / recycle.” Using only a rice sack and red netting, she created this dress in honor of her father, who worked during the Great Depression delivering 50-pound bags of rice.
This exhibit was the first of its kind to honor, preserve, and build on the history and present day issues of Chinatowns through community-led and curated narratives from residents globally.
Learn more about the artists.
]]>From artist and writer, Yumi Sakugawa, and curator, the Smithsonian Asian Pacific American Center, FASHION FORECASTS presented an alternate futuristic reality where everyday fashion is spiritual, intersectional, intergenerational, collaborative, sustainable, and influenced by different Asian and Asian American histories, cultures, and traditions.
At the same time, it playfully challenged strictly held beauty standards around age, gender expression, cultural representation, and body shape.
Viewers were invited to wear the community cape, and see what happened when other people wore the cape with them, and to imagine wearing a living altar to ancestors with offerings of fruit and incense.
Viewers were also asked to consider the possibility that fashion could be more than mass-produced consumerism and could be an intentionally created vehicle for spiritual growth and communal connection that weaves together relationships among strangers across different communities in unexpected, imaginative ways.
Learn more about the artist in our interview.
Props and costumes by Robbie Monsod.
]]>After the devastating Tangshan earthquake, her family moved from the northern province of Hebei to the southern city of Chengdu. With them they brought their love of dumplings, mantou (or steamed bread), and other carby comfort fare. But at the same time, Hu couldn’t help but develop a taste for huoguo (or hotpot) and other spicy dishes native to Sichuan province, and she found herself adapting to two cultures, one inside and one outside her home.
Thus began her journey of getting to know different cultures through foods. From juicy xiao long bao in her college town of Shanghai, to scrumptious crabs in Baltimore during graduate school, to “charming” bagels in her adopted home of New York.
Inspired by decorative art, Hu’s exhibition documented her journey and observations from around the world. Delightfully whimsical (and deceptively simple), her illustrations bring the everyday to life (and sometimes larger than life) and reveal the extraordinary in the ordinary. And they make us hungry.
Learn more about the artist in our interview with her.
]]>Asian Americans are relatively invisible outside of large cities such as San Francisco, Los Angeles, and New York, and even in these communities, they are often stereotyped as the model minority.
Kung and Hahn wanted to challenge this narrative and give a platform to the enormous contributions of the Delta Chinese community — from opening grocery stores to building lunar modules for NASA space missions.
Their hope was to broaden the viewer’s perspective and knowledge of Asian Americans through powerful audio-visual storytelling.
Learn more about the photographers in our interview with them.
]]>Such is the work of the multimedia artist’s exhibition for Pearl River Mart, The Illusion of Certainty, in which she explores nature and the changes and disruptions passing time can have on our precious environment.
Curated by Jessica Hodin Lévy.
Learn more about the artist in our interview with her.
]]>She created her installation for Pearl River Mart to be a quiet space where viewers could connect with and have a conversation with the work, gather their thoughts, reflect, or simply be.
Learn more about the artist in our interview with her.
]]>Mr. Ito’s exhibition, The Flip Flop Diary: Japan 2011–2018, explored his initial and subsequent returns to Japan, and what he has seen there. From a gleeful child in a lion head to a peaceful woman on a teeming subway to ladies in kimonos in front of a Starbucks, his pictures often juxtapose opposites. Joy and ferocity, calm and chaos, the old and the new.
Learn more about the artist in our interview with him.
]]>Learn more in our interview with the artist.
]]>The acclaimed artist was commissioned by the U.S. Postal Service to design the 12-year stamp series, "Celebrating Lunar New Year." He has also illustrated over 200 book covers, and magazine and editorial pieces for HarperCollins, St. Martin’s Press, Random House, National Geographic, Time magazine, Newsweek, The New York Times, and more, as well as several children’s books, including My Chinatown: One Year in Poems (which he also wrote), The Dragon Prince, and and the Kite Rider, which have won numerous awards and accolades. He is a professor at Fashion Institute of Technology (FIT), School of Art and Design.
To see more of Mr. Mak's work, visit his website or follow him on Instagram. Learn more about him here.
]]>To see more of Felicia's work, follow her on Instagram. Learn more about her here.
]]>Read our interview with E-Anna Soong, the teacher and curator behind the exhibit; get to know the student artists themselves; and check out photos from the opening reception.
]]>To learn more, read our interview with Louis.
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