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Art

See the work before deciding to go

Art and exhibition images from shows open now or starting soon in Taiwan.

TS Holdings Tower, Taipei

Through September 11

Black rectangles and pale translucent illuminated panels sit in steel frames, making a low irregular shadow-like form across a gray floor. — Foreseen
Kou Tak-Leong · 2026 · Steel, PMMA, optical film, and LED; dimensions variable
Kou Tak-Leong, Foreseen, 2026. © Project Fulfill Art Space; photograph by Anpis Wang; source: Taishin Bank Foundation for Arts and Culture.
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Huazhai, Wang'an, Penghu

Through September 6

Irregular pale handmade-paper forms, folded strips, and branch-like supports hang before a wall in a Huazhai house, casting broad shadows. — Island Dreams
Tsan I-Ling with children on Wang'an · 2026 · Handmade paper from milk cartons; installation
Tsan I-Ling, Island Dreams. Photograph by Shanlu Image Studio. Source: 500輯.
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New Sin Pin Pier, Kaohsiung

Through September 16

The characters 勝利 fill an orange field above a figure and floral forms. — Wang Wu, work in Self-Grown
Wang Wu · 2026
Image: New Sin Pin Pier. Original source: the current exhibition highlight.
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New Sin Pin Pier, Kaohsiung

September 26–October 18

A close view of dark green long-pile textile crossed by rust-colored embroidered lines like forest terrain. — Walk into the Landscape — exhibition image
Chuang Meng-wen · 2026 · Digital embroidery on long-pile textile; exhibition image
Exhibition image for Chuang Meng-wen's Walk into the Landscape, published by New Sin Pin Pier.
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New Sin Pin Pier, Kaohsiung

September 24–October 21

A pink and violet human body stretches and distorts from a chair against colliding blue and yellow brushwork. — Body Distortion, Fabrication & Interpretation — exhibition image
Kang Hui-fang · 2026 · Painting; exhibition image
Exhibition image for Kang Hui-fang's Body Distortion, Fabrication & Interpretation, published by New Sin Pin Pier.
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Huashan 1914, Taipei

Through September 29

A pale-blue ceramic horse spreads four broad feet, leaving a wide arch beneath its body, with a yellow-and-white star among dots on its side. — 《星星馬》 (Star Horse)
Yvonne Chen · 2026 · Ceramic, glaze, and colored slip; 22.9 × 19.8 cm
Yvonne Chen, 《星星馬》 (Star Horse), 2026, ceramic, glaze, and colored slip, 22.9 × 19.8 cm. Four legs spread into broad feet; the body and curled tail each leave an opening. Image supplied by Donna Art; source: Zlide / 藝見很多.
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Also on view

A white gallery where small metal sculptures sit on wooden plinths and low platforms, with a tall orange-red work standing against the far wall. — Sculptural Poems, installation view
ANPIS FOTO · 2026 · Tina Keng Gallery
Installation view of Kuo Szumin's Sculptural Poems, Tina Keng Gallery, 2026. Small sculptures occupy plinths and low platforms; the 4.5-metre 《冉冉而生 #4》 stands at the far wall. Photo: ANPIS FOTO. Source: Tina Keng Gallery.
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Folded orange-red iron planes enclose two irregular openings above a thin base, one face pale and another deep red. — Interdependence #1
Kuo Szumin · 2026 · Paint on iron, H.44 × 40 × 18 cm
《共生 #1》 / Interdependence #1. Kuo Szumin, 2026. Paint on iron, H.44 × 40 × 18 cm. Image: Tina Keng Gallery.
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Large fern fronds, fine stems, tight curls, and dark leaves overlap across a white field that remains visible through the gaps. — 《植物群像》
Chang Shan-Hsueh
Chang Shan-Hsueh, 《植物群像》. Image supplied by Chang Shan-Hsueh; source: 500輯.
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Green, yellow, ochre, and brown staghorn-fern fronds cross the seams of twelve white panels, with white gaps between the supports. — 《槲蕨》
Chang Shan-Hsueh
Chang Shan-Hsueh, 《槲蕨》. Image supplied by Chang Shan-Hsueh; source: 500輯.
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A tall black-and-white mountain field with a seated Buddhist figure at its base. — Wang Wu, work in Self-Grown
Wang Wu · 2026
Image: New Sin Pin Pier. Original source: the current exhibition highlight.
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An elder holds a dish; a small oval portrait appears inside the print, and a folded white object projects from the wall beside it. — Wang Wu, work in Self-Grown
Wang Wu · 2026
Image: New Sin Pin Pier. Original source: the current exhibition highlight.
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A fish crosses two dense fields of carved waves. — Wang Wu, work in Self-Grown
Wang Wu · 2026
Image: New Sin Pin Pier. Original source: the current exhibition highlight.
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Five framed works on the first-floor wall at New Sin Pin Pier. — Wang Wu, Self-Grown, installation view
Wang Wu · 2026
Image: New Sin Pin Pier. Original source: the current exhibition highlight.
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A short-legged ceramic horse stands with a black body, pale muzzle, mane, tail, and hooves, and tiny blue and pink eyes. — 《黑白馬》
Yvonne Chen · 2026 · Ceramic, glaze, and engobe; 15 × 12 × 4 cm; listed at NT$2,200
Yvonne Chen, 《黑白馬》, 2026. Image and work details: Donna Art.
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A small mango-yellow ceramic horse lifts its head, with a brown mane and tail painted across the soft yellow surface. — 《芒果蛋糕》
Yvonne Chen · 2026 · Ceramic, glaze, and engobe; 15 × 10 × 4 cm; listed at NT$1,800
Yvonne Chen, 《芒果蛋糕》, 2026. Image and work details: Donna Art.
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A pale pink ceramic unicorn stands on four dark chocolate-coloured legs with a small pink dish on its back. — 《草莓巧克力醬獨角獸》
Yvonne Chen · 2026 · Ceramic, glaze, and engobe; 15 × 10 × 4 cm; listed at NT$2,200
Yvonne Chen, 《草莓巧克力醬獨角獸》, 2026. Image and work details: Donna Art.
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CO-FORM fills Huashan's illuminated outer screens after dark, with visitors crossing the park below. — CO-FORM on the Huashan wall
Photograph by @hui_ming___ · 2026 · Huashan 1914 outdoor wall
CO-FORM at Huashan after dark. Twenty-five works, each twenty-five seconds long, appear as one programme within the wall's six-show rotation. Photograph by @hui_ming___; source: CCC Taiwan.
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The CO-FORM collective visual gathers circular fragments from the twenty-five works around the exhibition name. — CO-FORM collective visual
2026
CO-FORM collective visual. The programme brings together twenty-five women creators working with code, sound and movement. Image: CCC Taiwan / CO-FORM. Source: CCC Taiwan.
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A dark reflective online exhibition room with the CO-FORM mark inside a white circular structure. — CO-FORM 2026 in New Art City
2026 · New Art City online exhibition
CO-FORM 2026 in New Art City. The online room can be entered, navigated and revisited independently of the Huashan wall. Image: CO-FORM / New Art City.
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Zhuyin symbols float inside translucent purple and green forms in Pei Ying Yin's 《ㄅ級機密》. — 《ㄅ級機密》
尹沛螢 Pei Ying Yin · 2026 · Still from the artist's exhibition video (00:05)
尹沛螢 Pei Ying Yin, 《ㄅ級機密》, CO-FORM 2026. Zhuyin symbols move through translucent colored forms. Still from the artist's public exhibition video; source: CO-FORM 2026.
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Thousands of orange and gold temple points gather over a dark outline of Taiwan in Cindy Lin's 《香火 / Incense》. — 《香火 / Incense》
Cindy Lin · 2026 · Still from the artist's exhibition video (00:18)
Cindy Lin, 《香火 / Incense》, CO-FORM 2026. OpenStreetMap coordinates for 5,787 Taiwanese temples form a field of orange and gold points. Still from the artist's public exhibition video; source: CO-FORM 2026.
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Orange and purple distance graphics compare two distributions of emergency-contraception access across Taipei. — 《Taipei Plan B》
鍾依靜 · 2026 · Still from the artist's exhibition video (00:18)
鍾依靜, 《Taipei Plan B》, CO-FORM 2026. The work compares current access to emergency contraception across Taipei with another possible distribution. Still from the artist's public exhibition video; source: CO-FORM 2026.
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A luminous monochrome field folds into reflected curves and interference patterns in alice's 《Interference Field》. — 《Interference Field》
alice · 2026 · Still from the artist's exhibition video (00:12)
alice, 《Interference Field》, CO-FORM 2026. Changing mathematical relations generate a luminous field of reflections and interference. Still from the artist's public exhibition video; source: CO-FORM 2026.
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A gloved hand holds a stemmed glass upright; the glass sits in front of the fingers, with no face or table in the picture. — 《竊喜》 (Furtive Joy)
Huang Chih-Cheng & Hao · 2026 · Ink, pigment ink, and watercolor on jangji paper mounted on canvas; 21 × 32 cm
Huang Chih-Cheng & Hao, Furtive Joy / 《竊喜》, 2026. Ink, pigment ink, and watercolor on jangji paper mounted on canvas, 21 × 32 cm. Fragment Gallery lists silver foil; Huang's August 25 post lists gold. Courtesy of the artists and Fragment Gallery.
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A capped figure in a long garment comes forward through horizontal smears, both hands holding what appears to be a transverse flute at the mouth. — 《泛音》 (Overtone)
Huang Chih-Cheng & Hao · 2026 · Ink, pigment ink, and watercolor on silver foil and jangji paper mounted on canvas; 96 × 130 cm
Huang Chih-Cheng & Hao, Overtone / 《泛音》, 2026. Ink, pigment ink, and watercolor on silver foil and jangji paper mounted on canvas, 96 × 130 cm. Courtesy of the artists and Fragment Gallery.
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In a dark Huazhai room, sunlight makes a barred shape on the wall above a smaller pattern projected by a lamp. — Prints, Sunlight, and Old Houses
Hsiao Yuchi · 2026 · Light and handmade forms; installation
Hsiao Yuchi, Prints, Sunlight, and Old Houses. Photograph by Shanlu Image Studio. Source: 500輯.
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Pale drift material, rope, shells, and small objects are arranged across a sunlit red-tile courtyard in Huazhai. — Huazhai Garden
Maiko Sugano · 2026 · Drift material gathered on Wang'an; installation
Maiko Sugano, Huazhai Garden. Photograph by Shanlu Image Studio. Source: 500輯.
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Irregular paper impressions hang beside a tall paper form as sunlight enters a Huazhai house and reaches across the red-tile floor. — Between Pieces
Sayoko Suwabe · 2026 · Washi rubbings from Huazhai walls, coral, and basalt; installation
Sayoko Suwabe, Between Pieces. Photograph by Shanlu Image Studio. Source: 500輯.
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A square key visual in blue-to-magenta gradient with the bold words Signal World [REC] filling the frame above organizer and funder lines. — Signal World [REC] — key visual
2026 · Exhibition key visual
Organizer-supplied image published with the NCAF programme record.
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The wide visual for Reality Sandwich: Keelung Harbor places three film frames together: the port, a Korean barber at work in his shop, and a close view of an Aloha Hotel key tag. — Episode 13, Reality Sandwich: Keelung Harbor — key visual
Ho Bin Kim · 2026 · Exhibition key visual
Exhibition visual courtesy of Ho Bin Kim and Accton Arts Foundation. Editorial use.
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Under night lighting, densely woven bamboo fills a broken opening in an old factory wall, curling on the right into a round tunnel a visitor can walk into. — The Breath of Books
Lee Kuei-chih · 2026 · Bamboo land-art installation
Image: Yilan Tourism (Yilan County Government).
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Bamboo lit from within glows gold, throwing a lattice of shadows across the pitted concrete wall beside it. — The Breath of Books, detail
Lee Kuei-chih · 2026 · Bamboo land-art installation
Image: Yilan Tourism (Yilan County Government).
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Through a circular bamboo opening, a line of lit stone-like forms stands on night grass before the concrete wall of the former paper mill, with projected text on it. — Silvergrass Flower, seen through Stone and Time
Huang Chun-ming and Lee Kuei-chih · 2026 · Outdoor land-writing and land-art installation
Image: Yilan Tourism (Yilan County Government).
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At night, two pale masses built from stacked layers of paper push out of an old concrete wall, their edges picked out by floor-mounted lights. — The Years of Paper
Elena Redaelli · 2026 · Paper wall installation
Image: Yilan Tourism (Yilan County Government).
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Several ultramarine cloth panels hang under green foliage, curving slightly in the air, each printed with white island-like shapes on a fine grid. — Sea of Book Images
Rain Wu · 2026 · Suspended outdoor textile installation
Image: Yilan Tourism (Yilan County Government).
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Against a deep blue dusk sky, yellow and indigo dyed cloths hang from a leaning timber frame, with one lamp shining out between them. — Dye House
山廟設計共感製造所 · 2026 · Timber frame and dyed cloth, outdoors
Image: Yilan Tourism (Yilan County Government).
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A narrow mirrored slot set into a board-marked concrete wall reflects sky and a clump of grass, with water marks and green algae gathering along its lower edge. — Corridor of Sound: Tuning in Between
Zhang Jun-Ci · 2026 · Multi-channel sound installation, event score, mirror, light, walking
Zhang Jun-Ci, Corridor of Sound: Tuning in Between, 2026. Image: Yu-Hsiu Museum of Art.
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On a grassy slope at dusk, blue-green mosaic arcs curve out of the ground beside a long red-and-black patterned band, with plants growing between the arcs and a row of concrete blocks along the ridge behind. — The Elder
Lua Rivera · 2026
Lua Rivera, The Elder, 2026, at the former Huayuan Elementary School. Image supplied by the 2026 South-Link Art Festival; source: ARTouch.
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On a circular painted panel two black figures stand side by side between a rising sun, mountains, and water, their bodies patterned with Paiwan motifs; a ring of golden relief figures runs around the rim, with roots and fish below. — Coexistence Circle, detail
Wang Kuan-tung · 2026
Drawings and small wooden figures at the center of Coexistence Circle. Image supplied by the 2026 South-Link Art Festival; source: ARTouch.
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A large rectangular woven panel hangs on the white wall of a high station hall, its centre a circle of sunrise and two figures inside geometric borders, with a sign reading Tickets below. — Coexistence Circle in Jinlun Station
Wang Kuan-tung · 2026
Wang Kuan-tung, Coexistence Circle, 2026, at Jinlun Station. Image supplied by the 2026 South-Link Art Festival; source: ARTouch.
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On riverside grass, white steel arches cross into a half-open shelter with one side wrapped in woven bamboo; a woman sits on a stone bench beneath it, with the valley and forest behind. — The Resilience of Life
basakanlan (Hsieh Cheng-yi) · 2026
basakanlan, The Resilience of Life, 2026. Rattan, bamboo, acacia, stainless steel and stone beside the Jialan hot-spring extension. Image supplied by the 2026 South-Link Art Festival; source: ARTouch.
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Seen from below, two symmetrical wing-like panels of knotted cream cord and blue-green fabric strips open either side of a dark upright post, with sunlight breaking through the gap. — Hope Takes Wing, detail
Chen Sheng-chih · 2026
Woven detail from Hope Takes Wing. Image supplied by the 2026 South-Link Art Festival; source: ARTouch.
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Several tilted panels of knotted cord stand on grass at the foot of a hill, their white and blue patterns casting long shadows, with a curtain of dark green fabric strips hanging in the right foreground. — Hope Takes Wing on the grass
Chen Sheng-chih · 2026
Chen Sheng-chih, Hope Takes Wing, 2026, at the Ljaljiba intergenerational co-creation base. Image supplied by the 2026 South-Link Art Festival; source: ARTouch.
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Looking down into the museum's full-height atrium, a long narrow wooden boat rests on the floor hung with rows of small coloured objects, visitors standing around it and a timber-framed glass wall to the right. — The museum atrium
Lin Hui-ju · 2026
A current view through the museum atrium, visitors and several installations occupying the three-floor volume. Photograph: Lin Hui-ru / PeoPo.
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A hand-drawn map of Chiayi's streets covers a table, with a small statue wrapped in layers of red, yellow, and blue satin standing on it, the word for unity carved on its base. — The wrapped statue, at model scale
Lin Hui-ju · 2026
A miniature return to Wang Wen-chih's 1996 wrapped-statue action, standing on a street map inside the current exhibition. Photograph: Lin Hui-ru / PeoPo.
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Visitors stand between a large white angular sculpture and a wall of paintings in the gallery on opening day. — The gallery on opening day
Ding Wei-jie · 2026
Opening day on the first floor of Emerging Publics: a large white sculpture among visitors in front of a wall of paintings. Photograph: Ding Wei-jie / Liberty Times Arts Network.
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A dozen visitors stand around a long table covered with a hand-drawn street map, on which sit a white cone, small lantern-like houses, and cloth-wrapped statue models; a man at the centre explains into a microphone. — Visitors at the map table
2026
The first-floor city map in Emerging Publics, with models and records of work made around Chiayi. Photograph supplied by Chiayi City Government. Source: Liberty Times Arts Network.
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Visitors move between singer-history panels and cases of records and photographs, beneath low hanging lights patterned with Indigenous motifs. — Indigenous Popular Music in Pingtung
2026
The Pingtung installation of Indigenous Popular Music, with visitors moving between singer histories, records, photographs and hanging patterned lights. Image: TITV News.
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An orange poster carries the exhibition title in large white type, a silhouetted guitarist at the upper right, a vinyl record grooved with a world map at the centre, and the venue and 5.5–9.30 run printed below. — Indigenous Popular Music: From Mountain Ballads to Pop Hits, key visual
2026
Key visual for Indigenous Popular Music: From Mountain Ballads to Pop Hits. Image: Indigenous Peoples Cultural Development Center.
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The upper half lists the September 11 wedding-culture workshop and the September 12 performance with times and locations; below, an oil painting shows four Paiwan women elders in full dress singing into microphones around a small table set with water bottles and betel nut. — pasenay programme poster
Ma Yu-fang · 2026
Poster for the pasenay programme; painting supplied by Ma Yu-fang. Image: Indigenous Peoples Cultural Development Center.
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Several slightly curved square ceramic panels hang on a white wall from small brass hooks; most are matte black, one is a speckled white glaze, each incised with fine straight dividing lines. — Liu Chen-Chou's ceramic panels on the wall
Liu Chen-Chou · 2026 · Ceramic
Work by Liu Chen-Chou in On the plate at Clay+. Image: Clay+ on Instagram.
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A close view of one black square ceramic panel held to a white wall by metal hooks; incised lines cross the matte surface, dividing it into unequal rectangles. — Black ceramic panel, detail
Liu Chen-Chou · 2026 · Ceramic
Work by Liu Chen-Chou in On the plate at Clay+. Image: Clay+ on Instagram.
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A shallow square dish rests on pale grey marble paving; its surface is a chequerboard of cream and soft grey-green squares with sunken grid lines and a wavy rim. — Chequered square dish
Huang Hsiao-ju · 2026 · Ceramic
Work by Huang Hsiao-ju in On the plate at Clay+. Image: Clay+ on Instagram.
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A large oval platter sits on a black metal stand by a window, its glaze pooling in yellow, green, blue, and ochre; outside, a staghorn fern hangs against a tiled wall. — Large oval platter
Liu Yi-Tang · 2026 · Ceramic
Work by Liu Yi-Tang in On the plate at Clay+. Image: Clay+ on Instagram.
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A pale green round plate stands on a display easel, painted with a plump pink-orange figure carrying a cluster of yellow fruit-like forms above its head; brown speckles ring the rim. — Painted round plate
Wei-yin · 2026 · Ceramic
Work by Wei-yin in On the plate at Clay+. Image: Clay+ on Instagram.
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An oval mirror hangs on a white wall inside a ceramic frame modelled as ferns, curling tendrils, and small orange flowers in deep green and blue-green; the glass reflects a bare tree and carries the outline of a black flying bird. — Foliage mirror
Lin Yi-Hui · 2026 · Ceramic and mirror
Work by Lin Yi-Hui in On the plate at Clay+. Image: Clay+ on Instagram.
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Two pale celadon dishes sit on black plinths, one in front and one behind; each is folded and ridged like creased paper with an uneven edge, the further one out of focus against a grey wall. — Celadon dishes
Gen Hoshino · 2026 · Celadon
Work by Gen Hoshino in On the plate at Clay+. Image: Clay+ on Instagram.
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At night on the Kangle Street side, a painter works high on a large dragon form, its green scales edged in fluorescent line; paint cups, a folding table and a light box stand on the ground below. — The dragon gateway under construction at The Spring
2026 · Gateway installation
A painter works beneath the fluorescent-edged form before the exhibition's first night. Image: LONG FLOW TAINAN / Fake Fire Atelier. Editorial use.
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A yellow form crosses circular wall mounts, drops and gathers loosely on the floor beside a large dense brown hanging mass. — Huang Shao-ying's wall-and-floor installation
Huang Shao-ying · 2026 · Gallery H, Tainan Art Museum Building 1
Huang Shao-ying's wall-and-floor installation. A yellow form crosses circular wall mounts, drops and gathers on the floor beside a dense hanging mass. Artwork: Huang Shao-ying. Image: © 2026 Tainan Art Museum. Editorial use.
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A capsule-toy machine stands in the foreground of the gallery, where visitors can obtain small objects from it. — Chan Yung-jen's capsule exchange
Chan Yung-jen · 2026 · Gallery H, Tainan Art Museum Building 1
Chan Yung-jen's capsule exchange. The capsule-toy station stands in the foreground of the current exhibition room. Artwork: Chan Yung-jen. Image: © 2026 Tainan Art Museum. Editorial use.
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Paintings surround a central plinth holding a group of small dark objects. — Wang Guan-Jhen's paintings and object plinth
Wang Guan-Jhen · 2026 · Gallery H, Tainan Art Museum Building 1
Wang Guan-Jhen's paintings and object plinth. Paintings surround a central plinth of small dark objects. Artwork: Wang Guan-Jhen. Image: © 2026 Tainan Art Museum. Editorial use.
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Dense dark surfaces hang behind a pale object placed low on the floor. — Yen Yu-ting's dark surface field
Yen Yu-ting · 2026 · Gallery H, Tainan Art Museum Building 1
Yen Yu-ting's dark surface field. Dense dark surfaces hang behind a pale object placed low on the floor. Artwork: Yen Yu-ting. Image: © 2026 Tainan Art Museum. Editorial use.
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Repeated red forms, numbered knot-like ceramics, soft folded objects and small wall pieces share one room. — Ceramic and material room
2026 · Gallery H, Tainan Art Museum Building 1
Ceramic and material room. Repeated red forms, numbered knot-like objects, soft folded forms and small wall pieces share the room. Image: © 2026 Tainan Art Museum. Editorial use.
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Family photographs stand upright behind illuminated document tables as a visitor bends toward the records. — Tsai Ting-bang's family photographs and document tables
Tsai Ting-bang · 2026 · Gallery H, Tainan Art Museum Building 1
Tsai Ting-bang's family photographs and document tables. A visitor bends toward the illuminated records with Zhang-jie's photographs behind her. Artwork: Tsai Ting-bang. Image: © 2026 Tainan Art Museum. Editorial use.
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A small sculpture roughly seventeen centimetres high; a pink, gray and orange body carries a lion's face at each end, its surface covered in fine ridges and mineral flecks. — Qiāomǎoyuán — Lion
Chan Yung-jen · 2026 · Resin, mica, quartz and pigment, 17 × 20 × 15 cm
Qiāomǎoyuán — Lion. Resin, mica, quartz and pigment, 17 × 20 × 15 cm. Two outward-looking faces share one ridged, mineral-flecked body. Artwork: Chan Yung-jen. Image: Soil Space / Chan Yung-jen. Editorial use.
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A crimson block of a sculpture with pine trunks, branches and low park relief wrapping around its sides and upper edge. — Qiāomǎoyuán — Pine
Chan Yung-jen · 2026 · Resin, mica, quartz and pigment, 19 × 22 × 20 cm
Qiāomǎoyuán — Pine. Resin, mica, quartz and pigment, 19 × 22 × 20 cm. Pine trunks, branches and park relief wrap around a crimson block. Artwork: Chan Yung-jen. Image: Soil Space / Chan Yung-jen. Editorial use.
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A visitor stands at a white wall looking at two small sculptures on narrow shelves, with granular brown material and a larger installation covering the floor below. — The lion and pine at human scale
Chan Yung-jen · 2026 · Soil Space, Tainan
A visitor faces the two works on narrow wall shelves above the larger installation. Artwork: Chan Yung-jen. Image published by Soil Space / Tu Xing Studio. Editorial use.
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Granular brown material covers the gallery floor, with a tall curved white fragment standing near the centre and smaller forms scattered around it. — Accretions of Time, installation view
Chan Yung-jen · 2026 · Soil Space, Tainan
Installation view, Accretions of Time. Granular brown material covers the floor beneath a tall white architectural fragment and smaller forms. Artwork: Chan Yung-jen. Image published by Soil Space / Tu Xing Studio. Editorial use.
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A pale fiber body bends into an unclosed loop above a stair landing, with a smaller circular fiber work on the opposite wall. — The stair encounter
Hou Guan-Ting · 2026 · NGSC Experimental Space, 3F, Taoyuan
The stair encounter. Hou Guan-Ting's pale suspended fiber body hangs above the landing, with a smaller circular work opposite it. Image published by TSHI Ukhiam. Editorial use.
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A tall hanging accumulation of pale snail-like forms fills the foreground; a painting and smaller fiber works stand beyond it. — Hou Guan-Ting and TSHI Ukhiam in the same room
Hou Guan-Ting and TSHI Ukhiam · 2026 · NGSC Experimental Space, 3F, Taoyuan
Hou Guan-Ting and TSHI Ukhiam in the same room. Hou's hanging accumulation fills the foreground; one of TSHI's paintings and smaller fiber works remain visible beyond it. Image published by Hou Guan-Ting. Editorial use.
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Hou Guan-Ting sits beside the large fiber work, his hands among its repeated pale soft forms. — Hou Guan-Ting during installation
Hou Guan-Ting · 2026 · NGSC Experimental Space, 3F, Taoyuan
Hou Guan-Ting during installation. Hou sits beside the large fiber work while arranging its repeated soft forms. Image published by Hou Guan-Ting. Editorial use.
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Stitched pale cloth carries brown and red marks, with rib-like forms showing through the bent body. — Suspended body, detail
Hou Guan-Ting · 2026 · Fiber, cloth, thread
Suspended body, detail. Stitched pale cloth, brown-red marks and exposed rib-like forms are visible in the bent body. Work: Hou Guan-Ting. Image published by Hou Guan-Ting. Editorial use.
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A reclining figure on a green ground hangs on a blue wall beside a small pale fiber work on a yellow plinth. — Painted and fiber bodies
TSHI Ukhiam and Hou Guan-Ting · 2026 · NGSC Experimental Space, 3F, Taoyuan
Painted and fiber bodies. TSHI Ukhiam's green-ground reclining figure hangs beside a smaller Hou Guan-Ting work on a yellow plinth. Image published by TSHI Ukhiam. Editorial use.
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A turning figure is built from blocks of green, purple, blue and orange. — The Double Life of Véronique
TSHI Ukhiam · 2026 · Painting
TSHI Ukhiam, The Double Life of Véronique, 2026. A turning figure is built from green, purple, blue and orange passages. Artwork and image: TSHI Ukhiam. Editorial use.
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A frontal portrait built in blue, orange, pink, red and brown, its features and hair divided across colour fields. — Saving all my love for you (Whitney Houston)
TSHI Ukhiam · 2026 · Painting
TSHI Ukhiam, Saving all my love for you (Whitney Houston), 2026. A frontal portrait in blue, orange, pink, red and brown. Artwork and image: TSHI Ukhiam. Editorial use.
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The exhibition poster sets the title and dates over a 1998 image of Gao Jun-honn pulling the arrow-shaped wooden box. — The Unmoored, exhibition poster
2026 · Ho Ran Library B1 Arts Space, Hsinchu
The Unmoored exhibition poster, featuring Gao Jun-honn's Farewell! Departing by Now (1998/2020). Image: NYCU Arts Center. Editorial use.
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A long white gallery with The Edge of Light at left and smaller paintings distributed across the remaining walls. — Wang Sean, installation view of The Frame
Photo: choccat.cc · 2026
Installation view of The Frame, 2026. The Edge of Light hangs at left, with smaller paintings distributed across the gallery. Wang Sean; photo: choccat.cc; source: Project Fulfill Art Space. Editorial use for arts reporting.
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A square painting with a narrow vertical sea and horizon at its centre, surrounded by a densely painted violet, green, blue and ochre field. — Wang Sean, The Edge of Light
Wang Sean · 2026 · Oil and acrylic, 100 × 100 × 5 cm
Wang Sean, The Edge of Light, 2026. Oil and acrylic, 100 × 100 × 5 cm. A vertical sea and horizon sit inside a densely painted square field. Photo: choccat.cc; source: Project Fulfill Art Space. Editorial use for arts reporting.
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Seen from the side, The Edge of Light shows the depth of its central opening, the built-up ridges of paint and the canvas edge. — Wang Sean, oblique view of The Edge of Light
Wang Sean · 2026
Oblique view of The Edge of Light, 2026. The angle shows the built paint surface, central opening and canvas edge. Wang Sean; photo: choccat.cc; source: Project Fulfill Art Space. Editorial use for arts reporting.
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A row of small square paintings runs from green through orange-red and violet to an almost empty white, with a larger pale painting beside them. — Wang Sean, a row of small works in The Frame
Photo: choccat.cc · 2026 · Meteors, 2026; oil, acrylic and crystal on linen, 30 × 30.5 × 2.5 cm each
A row of small works in The Frame, 2026. The green and orange-red works are Meteors, each made with oil, acrylic and crystal on linen. Wang Sean; photo: choccat.cc; source: Project Fulfill Art Space. Editorial use for arts reporting.
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A dark landscape under a blue-black sky fills the painting, surrounding a small pale rectangular opening at its centre. — A work in Wang Sean's The Frame
Wang Sean · 2026
A work in Wang Sean's The Frame, 2026. A dark landscape surrounds a small pale rectangular opening. Photo: choccat.cc; source: Project Fulfill Art Space. Editorial use for arts reporting.
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At night, Lin Yu-Sheng in green waders and a headlamp reaches into an illuminated transparent tank beside a parked scooter, with a mapped coast across the lower part of the image. — My Mobile Clam Shack: Southern Deployment Trial
Lin Yu-Sheng · 2026 · Exhibition image
Current exhibition image. Lin Yu-Sheng works beside a scooter and an illuminated transparent tank at night. Image: Kaohsiung Museum of Fine Arts. Editorial use.
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