藝術(shù)的符號(hào)性特質(zhì)不僅是在當(dāng)代藝術(shù)的表現(xiàn)中，早在藝術(shù)產(chǎn)生的原始時(shí)代，這種符號(hào)性的表現(xiàn)就是非常明顯，而且是藝術(shù)表現(xiàn)的特點(diǎn)之一，其中有很多神秘和不解，這就是人類早期創(chuàng)立各種符號(hào)的特殊性。

The symbolic nature of art is not only evident in contemporary artistic expressions; it was already very prominent in the primitive era when art first emerged. This symbolic representation is one of the characteristics of artistic expression, filled with many mysteries and enigmas. This highlights the uniqueness of humanity's early establishment of various symbols.

然而，在各種符號(hào)的創(chuàng)立與表現(xiàn)之中，符號(hào)所具有的意義各不相同，其中的象形與抽象，都反映了與自然和物象之間的關(guān)系，更是人類認(rèn)識(shí)世界和表現(xiàn)世界的一種反映。這是從蠻荒時(shí)代出發(fā)所顯現(xiàn)的藝術(shù)發(fā)展的共同特征。

However, among the various symbols created and expressed, the meanings of these symbols differ significantly. Both pictorial and abstract forms reflect the relationship between humanity and nature, serving as a manifestation of how humans understand and represent the world. This is a common characteristic of artistic development that emerges from the primitive era.

中國藝術(shù)從新石器時(shí)代刻畫在陶器等硬質(zhì)表面上的那些符號(hào)，到后來文字的成型與發(fā)展，依然存留了符號(hào)早期在交流之中所承擔(dān)的特別的社會(huì)意義。

Chinese art, from the symbols carved on hard surfaces like pottery in the Neolithic era to the later formation and development of written characters, still retains the special social significance that symbols held in early communication.

而在后來的發(fā)展中，從符號(hào)到文字，從刻畫到書寫，固然其中有材質(zhì)方面的變化，但本質(zhì)上是從這種符號(hào)到文字的變化中所顯現(xiàn)出來在功用上的大幅度的提升，讓人們看到了文字所具有的特別的社會(huì)意義，而審美的不斷介入又將文字的書寫抬升到了具有文化意味的新的層面。

In the later development, the transition from symbols to written characters and from carving to writing certainly involved changes in materials. However, fundamentally, it reflects a significant enhancement in functionality from symbols to written characters, revealing the special social significance of writing. The continuous involvement of aesthetics has elevated the act of writing to a new level imbued with cultural meaning.

在中國，漢字的書寫是一門獨(dú)特的藝術(shù)。而到了21世紀(jì)的今天，人們又看到了在當(dāng)代藝術(shù)的發(fā)展中借助于各種藝術(shù)符號(hào)來發(fā)展當(dāng)代藝術(shù)的表現(xiàn)，并成為一種國際潮流。

In China, the writing of Chinese characters is a unique art form. As we reach the 21st century, we see the development of contemporary art utilizing various artistic symbols, which has become an international trend.

中國的文字作為具有中國文化特點(diǎn)的符號(hào)之一，它有著顯著的國家文化特征以及和藝術(shù)的關(guān)系，這就是書寫所給予這樣一種特別的藝術(shù)所帶來的文化的高度。所以，在不斷的發(fā)展過程中，中國的書寫自成體系并形成了高峰林立的天下和在近世的發(fā)展。

As one of the symbols characteristic of Chinese culture, Chinese writing possesses significant national cultural traits and a relationship with art. This reflects the cultural elevation brought about by the unique art of writing. Therefore, in the process of continuous development, Chinese writing has formed its own system, creating a landscape of towering peaks and evolving significantly in modern times.

在當(dāng)代藝術(shù)的諸多表現(xiàn)中，人們也能夠看到從徐冰的《天書》（《析世鑒-天書》，1987-1991）開始利用文字進(jìn)行著具有跨時(shí)代的重要?jiǎng)?chuàng)作，而他作品中的那些文字又不是人們所熟識(shí)的那些，更難以連接到人們已有的知識(shí)系統(tǒng)之中。

In many expressions of contemporary art, one can see the significant cross-era creations that began with Xu Bing's "Book from the Sky" ("Xishi Jian - Book from the Sky," 1987-1991), where he utilizes text in a unique way. The characters in his work are not those familiar to people, making it even more challenging to connect them to existing knowledge systems.

《天書》的創(chuàng)造性就在于利用這種符號(hào)性的特點(diǎn)，把人們拉向了與文字關(guān)聯(lián)的文化回望之中，思接千載至蠻荒時(shí)代的各種符號(hào)，實(shí)際上是利用了文化的親情而擴(kuò)展了藝術(shù)的表現(xiàn)。這種具有當(dāng)代性的創(chuàng)作并不是一種書寫，更不是一種已有文字的書寫。

The creativity of "Book from the Sky" lies in its use of symbolic characteristics, drawing people into a cultural reflection associated with text. By connecting various symbols that reach back to ancient and primitive times, it effectively expands the expression of art through the affinity of culture. This contemporary creation is not a form of writing, nor is it a writing of existing characters.

毫無疑問，在多種多樣的當(dāng)代藝術(shù)的表現(xiàn)中，像王冬齡的“亂書”，依然是在傳統(tǒng)書寫基礎(chǔ)上的延續(xù)與發(fā)展，只不過在其發(fā)展的過程中引發(fā)了基因的突變。

Without a doubt, among the diverse expressions of contemporary art, works like Wang Dongling's "Chaos Writing" continue to build upon and develop traditional writing, albeit with a genetic mutation triggered during its evolution.

那么，所謂的“亂書”再也不是傳統(tǒng)意義上的書寫，而是把傳統(tǒng)的書寫引入到當(dāng)代藝術(shù)的表現(xiàn)之中，這就是消解了人們對(duì)于文字及其關(guān)聯(lián)意義的指認(rèn)，或者是去除了對(duì)于具體內(nèi)容和意義的判斷，它所帶來的“亂”的符號(hào)雖然是文字的構(gòu)成，卻完全不同于傳統(tǒng)書寫的審美，成為一種符號(hào)性在當(dāng)代藝術(shù)表現(xiàn)中的一種重要的方式。

Therefore, the so-called "Chaos Writing" is no longer traditional writing in the conventional sense; rather, it brings traditional writing into the realm of contemporary artistic expression. This approach dissolves people's identification with the meanings associated with text, or removes the judgment of specific content and significance. The "chaotic" symbols it produces, although composed of characters, are entirely different from the aesthetics of traditional writing, becoming an important mode of symbolism in contemporary artistic expression.

然而，魏立剛的表現(xiàn)盡管有其個(gè)人的特色，他有時(shí)堅(jiān)持去寫，并通過用一些新的材料以擴(kuò)展在視覺上的獨(dú)特性，從而改變了宣紙?jiān)趯徝郎系墓潭Ｊ健?/p>

However, despite Wei Ligang's personal style, he sometimes insists on writing and expands the visual uniqueness by using new materials, thereby altering the fixed aesthetic patterns of rice paper.

但是，他的寫同樣不具有傳統(tǒng)書寫的美學(xué)要求,也不是傳統(tǒng)文人所期盼的那樣，更不是在間架結(jié)構(gòu)和中鋒用筆的品評(píng)要求中表現(xiàn)出為傳統(tǒng)書家津津樂道的那種深厚的功力。

However, his writing also does not possess the aesthetic requirements of traditional calligraphy, nor does it align with the expectations of traditional literati. Furthermore, it does not demonstrate the profound skills that traditional calligraphers take pride in, as reflected in the evaluation of structural composition and the use of the central axis in brushwork.

他有時(shí)又不放棄對(duì)于文字的指認(rèn)，甚至通過文字的指認(rèn)而獲得某種特別的趣味，這就顯現(xiàn)出了一種矛盾的狀態(tài)。

At times, he does not abandon the identification with text, and even gains a certain special interest through this identification, which reveals a contradictory state.

而這種矛盾的書寫狀態(tài)以及他的藝術(shù)所呈現(xiàn)出來的這種符號(hào)性的特質(zhì)，讓人們看到了藝術(shù)在如今的中國當(dāng)代藝術(shù)的發(fā)展過程中的多樣性。

This contradictory writing state and the symbolic qualities presented in his art allow people to see the diversity in the development of contemporary art in today's China.

無疑，魏立剛通過書寫所表現(xiàn)出來的多樣性，又完全不同于王冬齡的方式。

Undoubtedly, the diversity expressed through writing by Wei Ligang is completely different from that of Wang Dongling.

而任戎以文字符號(hào)為基礎(chǔ)的表現(xiàn)，連接了漢代畫像和民間藝術(shù)的某些形式，又連接了德國當(dāng)代藝術(shù)的觀念和趣味。

Ren Rong's expression, based on written symbols, connects certain forms of Han dynasty imagery and folk art, while also linking to concepts and tastes in contemporary German art.

任戎以文字為基礎(chǔ)的創(chuàng)作，其霸悍、強(qiáng)勁的個(gè)人風(fēng)格，所展現(xiàn)的文字符號(hào)和文化意義在觀念的表現(xiàn)中有著他對(duì)當(dāng)代藝術(shù)的理解。

Ren Rong's creations, based on written language, showcase a bold and powerful personal style. The written symbols and cultural meanings he presents reflect his understanding of contemporary art in the realm of conceptual expression.

任戎的這樣一種方式是以脫離書寫的表現(xiàn)而呈現(xiàn)出裝飾性、圖案化和當(dāng)代性的纏繞，他更多的是在材質(zhì)上，或者是在其他方面所表現(xiàn)出來的自身特色。

Ren Rong's approach emphasizes a decorative, patterned, and contemporary entanglement that transcends traditional writing. His work often highlights unique characteristics through materials and other aspects, showcasing a distinct artistic identity.

“從蠻荒出發(fā)：當(dāng)代漢字藝術(shù)展”，作為“第二十三屆深圳美術(shù)館當(dāng)代藝術(shù)邀請(qǐng)展”，所選擇的四位藝術(shù)家就是四個(gè)獨(dú)特的個(gè)案。

"Journey from the Wilderness: Contemporary Chinese Character Art Exhibition," as part of the 23rd Shenzhen Art Museum Contemporary Art Invitational Exhibition, features four selected artists, each representing a unique case.

他們中既有中國當(dāng)代藝術(shù)發(fā)展具有里程碑的歷史性回顧，又有深具當(dāng)代影響與中國當(dāng)代藝術(shù)發(fā)展的重要的現(xiàn)實(shí)問題的思考，還有具有代表性的以漢字為基礎(chǔ)的激發(fā)中國當(dāng)代藝術(shù)創(chuàng)作的不懈努力。

Among them, there is both a historical review of the milestones in the development of contemporary Chinese art and a deep reflection on significant contemporary issues impacting this evolution. Additionally, there are representative efforts that continuously inspire contemporary Chinese art creation based on Chinese characters.

在這樣一種跨越數(shù)十年的歷史發(fā)展中，以文字符號(hào)為基礎(chǔ)的中國當(dāng)代藝術(shù)的表現(xiàn)，在國際當(dāng)代藝術(shù)的發(fā)展過程中越來越受到關(guān)注，其影響也越來越廣泛。

In this historical development spanning several decades, the expression of contemporary Chinese art based on written symbols has garnered increasing attention in the context of international contemporary art, and its influence has become more widespread.

相信其中最重要的原因就是中國文字和中國書寫所具有的自身的魅力，以及基于書寫這樣一種特別的方式所帶來的特別的文化感覺。

I believe one of the most important reasons is the inherent charm of Chinese characters and Chinese writing, as well as the unique cultural feeling brought about by this special form of writing.

而在當(dāng)代藝術(shù)以此為基礎(chǔ)的各種不同的表現(xiàn)中，藝術(shù)家不管是顛覆，還是利用；不管是建構(gòu)，還是創(chuàng)造，總是寄希望于這樣一種利用文字的方式能夠建構(gòu)起一種新的文化格局，以維護(hù)21世紀(jì)的世界文化多樣性。

In the various expressions of contemporary art based on this foundation, artists, whether subverting or utilizing, constructing or creating, always hope that this use of written language can establish a new cultural framework to uphold the cultural diversity of the world in the 21st century.

這是擺脫抄襲、模仿，推動(dòng)中國當(dāng)代藝術(shù)在21世紀(jì)發(fā)展的一條重要的途徑。在如今當(dāng)代藝術(shù)的表現(xiàn)中，以文字符號(hào)為基礎(chǔ)的建構(gòu)，所簇?fù)砥鸬囊粋€(gè)個(gè)讓人們仰視的高峰，是以文字符號(hào)為基礎(chǔ)的表現(xiàn)所呈現(xiàn)出來的多樣化的表現(xiàn)方式。

This is an important avenue for the development of contemporary Chinese art in the 21st century, which has often been criticized for plagiarism and imitation. In today's expressions of contemporary art, the constructions based on written symbols have created a series of towering peaks that showcase the diverse forms of expression presented by this foundation of written language.

他們的文化基因相同，而表現(xiàn)卻是美美與共，讓人們看到了當(dāng)代藝術(shù)具有一些規(guī)律性的表現(xiàn)內(nèi)容。

Their cultural genes are the same, yet their expressions are beautifully shared, allowing people to see that contemporary art has some regular patterns in its content.

當(dāng)然，在如今中國當(dāng)代藝術(shù)的表現(xiàn)中還有多種多樣的方式，還將出現(xiàn)更加豐富而多樣的對(duì)傳統(tǒng)文化或符號(hào)的新的利用，它們未來可能會(huì)形成一個(gè)陣營，形成一個(gè)利用中國傳統(tǒng)文化而推動(dòng)當(dāng)代藝術(shù)新發(fā)展的群，并以此來呈現(xiàn)出與中國傳統(tǒng)文化所關(guān)聯(lián)的中國方式。

Of course, in the expressions of contemporary Chinese art today, there are various methods, and there will be even richer and more diverse new uses of traditional culture or symbols. In the future, they may form a camp, creating a group that promotes the new development of contemporary art through the utilization of Chinese traditional culture, thereby presenting a Chinese approach associated with traditional culture.

深圳美術(shù)館藝術(shù)總監(jiān) 陳履生

藝術(shù)家簡(jiǎn)介
Artists Introduction

王冬齡
WANG DONGLING

王冬齡，1945年生，江蘇如東人。中國美術(shù)學(xué)院現(xiàn)代書法研究中心主任，中國美術(shù)學(xué)院教授、博士生導(dǎo)師，杭州市書法家協(xié)會(huì)終身名譽(yù)主席，蘭亭書法社社長(zhǎng)，西泠印社理事。

1981年浙江美術(shù)學(xué)院（今中國美術(shù)學(xué)院）首屆書法研究生班畢業(yè)，文學(xué)碩士，留校任教。1989年赴美國明尼蘇達(dá)大學(xué)講授中國書法四年，為該校及加州大學(xué)（圣特魯斯）客座教授。1994年回中國美術(shù)學(xué)院執(zhí)教。

作品由故宮、中國美術(shù)館、北京大學(xué)、清華大學(xué)、倫敦大英博物館、維多利亞和阿爾伯特博物館、大都會(huì)博物館、哈佛大學(xué)、耶魯大學(xué)、劍橋大學(xué)、斯坦福大學(xué)、伯克利大學(xué)、溫哥華美術(shù)館、奧克蘭美術(shù)館、香港M+美術(shù)館等收藏。

Wang Dongling, born in 1945, is from Rudong, Jiangsu. He is the director of the Modern Calligraphy Research Center of the China Academy of Art, a professor and doctoral supervisor of the China Academy of Art, the lifelong honorary chairman of the Hangzhou Calligraphers Association, the president of the Lanting Calligraphy Society, and the director of the Xiling Seal Society.

In 1981, he graduated from the first calligraphy graduate class of the Zhejiang Academy of Fine Arts (now the China Academy of Art) with a master's degree in literature and stayed at the school to teach. In 1989, he went to the University of Minnesota in the United States to teach Chinese calligraphy for four years and was a visiting professor at the school and the University of California (St. Truth). In 1994, he returned to the China Academy of Art to teach.

His works are collected by the Palace Museum, the National Art Museum of China, Peking University, Tsinghua University, the British Museum in London, the Victoria and Albert Museum, the Metropolitan Museum of Art, Harvard University, Yale University, Cambridge University, Stanford University, Berkeley University, Vancouver Art Gallery, Auckland Art Gallery, and M+ Art Gallery in Hong Kong.

徐冰
XU BING

徐冰，藝術(shù)家，中央美術(shù)學(xué)院教授。他被廣泛認(rèn)為是當(dāng)今重要的概念藝術(shù)家，特別在語言學(xué)和符號(hào)學(xué)領(lǐng)域，始終以極具突破力的藝術(shù)創(chuàng)作拓展著藝術(shù)的邊界。作品展出于中國美術(shù)館、大都會(huì)藝術(shù)博物館、紐約現(xiàn)代藝術(shù)博物館、古根海姆美術(shù)館、大英博物館、威尼斯雙年展等藝術(shù)機(jī)構(gòu)，并被廣泛收藏。

1999年，因其在 “原創(chuàng)性、創(chuàng)造能力、個(gè)人方向和對(duì)社會(huì)，尤其在版畫和書法領(lǐng)域中作出重要貢獻(xiàn)的能力”, 獲得美國創(chuàng)造性人才最高獎(jiǎng)“天才獎(jiǎng)”。2003年，“由于對(duì)亞洲文化的發(fā)展所做的貢獻(xiàn)”，獲得第十四屆日本福岡亞洲文化獎(jiǎng)。2004年，獲得首屆“Artes Mundi國際當(dāng)代藝術(shù)獎(jiǎng)”，評(píng)委會(huì)授獎(jiǎng)理由：“徐冰是一位能夠超越文化界線，將東西方文化相互轉(zhuǎn)換，用視覺語言表達(dá)他的思想和現(xiàn)實(shí)問題的藝術(shù)家。”2006年, 由于“對(duì)文字、語言和書籍溶智的使用，對(duì)版畫與當(dāng)代藝術(shù)這兩個(gè)領(lǐng)域間的對(duì)話和溝通所產(chǎn)生的巨大影響”獲美國“版畫藝術(shù)終身成就獎(jiǎng)”。2010年，美國哥倫比亞大學(xué)授予徐冰人文學(xué)榮譽(yù)博士學(xué)位。2018年，獲得中央美術(shù)學(xué)院“徐悲鴻藝術(shù)創(chuàng)作獎(jiǎng)”。

Xu Bing, an artist. He was born in Chongqing, China, in 1955. Xu Bing serve as a professor in CAFA. Xu Bing is widely recognized as the leading conceptual artists of language and semiotics working today. He has always been expanding the boundaries of art with the inventive breakthrough in his artistic creations. His work has been exhibited at various art institutions such as the National Art Museum of China, The Metropolitan Museum of Art, New York, the Museum of Modern Art, New York, the Solomon R. Guggenheim Museum, New York, the British Museum, London, the Venice Biennale, and have been widely collected.

In 1999, Xu Bing received the highest creative talent award in the United States. In recognition of his “capacity to contribute importantly to society, particularly in printmaking and calligraphy.” In 2003, he was conferred the 14th Fukuoka Asian Culture Award for his “contribution to the development of Asian culture”. In 2004, he won the first Artes Mundi Prize in Wales. Reasons for the jury's award: "Xu Bing is an artist who can transcend cultural boundaries, convert Eastern and Western cultures, and express his thoughts and practical issues in visual language. In 2006, the Southern Graphics Council conferred on Xu Bing its lifetime achievement award in recognition of the fact that his “use of text, language and books has impacted the dialogue of the print and art worlds in significant ways.” In 2010, he was awarded an honorary doctorate in humane letters from Columbia University. In 2018, he was awarded the "Xu Beihong Art Creation Award" by the Education Development Foundation of the CAFA.

任 戎
REN RONG

出生于中國江蘇省南京市。1986年畢業(yè)于南京藝術(shù)學(xué)院，1992年畢業(yè)于德國杜塞爾多夫國立藝術(shù)學(xué)院。1993年獲德國史萊斯威西·赫爾斯坦州文化部藝術(shù)獎(jiǎng)學(xué)金。其曾在德國、捷克、加拿大、新加坡、北京、臺(tái)北、香港等地多次舉辦個(gè)人展覽，并多次參加重要群展。

1996年任戎受到德國波恩國立藝術(shù)博物館委托，組織策劃《中國！》當(dāng)代藝術(shù)巡回展，2013年他在德國波恩創(chuàng)建“德國波恩當(dāng)代藝術(shù)館”，并與眾多的德國、中國公立博物館、民營美術(shù)館以及私人畫廊積極合作，持續(xù)組織和策劃歐亞藝術(shù)家展覽，推進(jìn)各國文化交流。

任戎現(xiàn)生活和工作在德國波恩和中國北京。

Born in Nanjing, Jiangsu Province, China. He graduated from Nanjing University of the Arts in 1986 and from Dusseldorf State Academy of the Arts in Germany in 1992. In 1993, he received the Art Scholarship of the Ministry of Culture of Schleicwiesie Helstein, Germany. He has held individual exhibitions in Germany, Czech Republic, Canada, Singapore, Beijing, Taipei, Hong Kong and other places, and participated in important group exhibitions for many times.

In 1996, Ren Rong was commissioned by the Museum of Art in Bonn, Germany, to organize the "China!" Travelling exhibition of contemporary art, In 2013, he founded the "Kunstraum Villa Friede" in Bonn, Germany, and has cooperated with numerous German and Chinese public museums, private art museums and private galleries actively cooperate to continue to organize and plan exhibitions of Eurasian artists and promote the development of various countries Cultural exchange.

Ren Rong now lives and works in Bonn, Germany and Beijing, China.

魏立剛
WEI LIGANG

1964年出生于山西大同，現(xiàn)生活工作于北京。開創(chuàng)書象派與國際書象學(xué)社，現(xiàn)任中國現(xiàn)代書法藝術(shù)學(xué)會(huì)副會(huì)長(zhǎng)。魏立剛的藝術(shù)創(chuàng)作始于天津南開大學(xué)數(shù)學(xué)系就讀期間，師承王學(xué)仲、孫伯翔等。先后主導(dǎo)發(fā)起策劃多個(gè)意義重大的中國現(xiàn)代書法藝術(shù)運(yùn)動(dòng)展覽、論壇、出版等。2005年榮獲ACC亞洲文化協(xié)會(huì)年度藝術(shù)家大獎(jiǎng)后赴紐約交流創(chuàng)作，后開啟全球?qū)W術(shù)考察駐留，其創(chuàng)作名譽(yù)海內(nèi)外。他以藝術(shù)家、策劃者、教育者的多重身份致力于書寫現(xiàn)當(dāng)代性的視覺理論研究及東西方文化交流。

其四十余年的職業(yè)藝術(shù)實(shí)踐關(guān)注探究東方抽象純粹視覺性及本土文化復(fù)興的使命，把“書寫”拓展為對(duì)應(yīng)宇宙萬物、建構(gòu)“結(jié)構(gòu)本身”的藝術(shù)形式，打造一種基于漢字線條和空間結(jié)構(gòu)的普世抽象語言，為中國當(dāng)代水墨藝術(shù)中最早的個(gè)人視覺語言之一。

重要收藏機(jī)構(gòu)包括倫敦大英博物館、中國國家博物館、中國美術(shù)館、巴黎賽努奇亞洲藝術(shù)博物館、洛杉磯郡立美術(shù)館(LACMA)、西雅圖蓋茨基金會(huì)、舊金山現(xiàn)代藝術(shù)博物館、愛爾蘭皇宮、不丹王室、皮諾家族收藏、香港藝術(shù)館(HKMoA)等中外藝術(shù)機(jī)構(gòu)收藏。

Wei Ligang, born in Datong, Shanxi in 1964, currently lives and works in Beijing. He founded the School of Calligraphic Imagery and the International Calligraphic Imagery Society, and currently serves as the vice president of the China Modern Calligraphy Art Association. Wei Ligang began his artistic creation while studying mathematics at Nankai University in Tianjin, under the tutelage of Wang Xuezhong and Sun Boxiang. He has spearheaded and planned numerous significant exhibitions, forums, and publications related to the modern Chinese calligraphy art movement. In 2005, after receiving the ACC Asian Cultural Council Annual Artist Award, he went to New York for artistic exchange and subsequently began a global academic investigation and residency, gaining recognition for his work both domestically and internationally. He is dedicated to the study of contemporary visual theory and the exchange of Eastern and Western cultures in his multifaceted roles as an artist, curator, and educator.

For over four decades, his artistic practice has focused on exploring the pure visual abstraction of the East and the mission of reviving indigenous culture. He expands "writing" into an art form that corresponds to all things in the universe, constructing "structure itself," creating a universal abstract language based on the lines and spatial structure of Chinese characters. This is considered one of the earliest individual visual languages in contemporary Chinese ink art.

His works are held in prominent collections worldwide, including the British Museum (London), the National Museum of China, the National Art Museum of China, the Musée Cernuschi (Paris), the Los Angeles County Museum of Art (LACMA), Bill and Melinda Gates Foundation (Seattle), the San Francisco Museum of Modern Art (SFMOMA), the Irish Presidential Palace, the Bhutanese Royal Family Collection, the Pinault Collection, and the Hong Kong Museum of Art (HKMoA).