Business Finance Media Technology Policy Wealth Insights Interviews

Art Art Fairs Art Market Art Reviews Auctions Galleries Museums Interviews

Lifestyle Nightlife & Dining Style Travel Interviews

Power Index Nightlife & Dining Art A.I. PR

About About Observer Advertise With Us Reprints

Nunu Hung’s Year of Ambition, Intellectual Depth and Unapologetic Openness

Her gallery’s 2026 program brings together artists whose work confronts questions of identity, migration, embodiment and cultural memory across generations and geographies.

In a city like New York, where cultural capital is theoretically abundant, the gallery world can still feel like a closed system, calibrated for insiders already fluent in its coded language. What makes Nunu Fine Art stand out in that crowded ecosystem isn’t just its program, which is rigorous and international in scope, but the warmth with which visitors are received and the seriousness with which their curiosity is treated. There is a generosity to the space and to its founder, Nunu Hung, who operates her gallery less as a transactional environment and more as a place for sustained engagement, where the art of conversation is as important as the art on the walls.

Sign Up For Our Daily Newsletter

Thank you for signing up!

By clicking submit, you agree to our terms of service and acknowledge we may use your information to send you emails, product samples, and promotions on this website and other properties. You can opt out anytime.

Hung founded the gallery in Taipei in 2014 after seeing how local audiences were often cut off from meaningful engagement with global contemporary art. In particular, it was the lack of exhibitions featuring internationally established artists that motivated her to create a gallery that could connect those audiences and artists to the global art discourse. Her commitment to cultural translation quickly became the gallery’s defining characteristic, as Hung introduced American and European artists to Taiwan while simultaneously helping Taiwanese and Asian artists more broadly achieve widespread recognition.

She expanded into New York almost three years ago, with a 3,000-square-foot space on Broome Street, becoming the first Taiwanese dealer to establish a permanent gallery presence in the city. Today, Hung is candid about her priorities. “Part of why I came to New York to open the gallery is because I wanted to place my artists within the museum system,” she said when I visited the gallery last month to catch up and walk through “Mia Westerlund Roosen: Then and Now” (which closes this weekend). I also wanted to see the tightly curated Project Space presentation showcasing four Taiwanese artists—Chiao-Han Chueh, Guan-Hong Lu, Shida Kuo and En-Man Chang—whose work has recently entered museum collections. “Mia and Rona Pondick, for example, built careers through museums, through the curatorial ideas, and so I’ve spent a lot of time and energy visiting museums, speaking with curators and developing exhibitions that can help position our artists within that institutional context,” she added.

It’s a strategy that requires patience, but also one that tends to pay off, and that long view is evident in the gallery’s roster, which spans generations and continents, from established figures like Petah Coyne, Rona Pondick, Peter Zimmermann and Kees Goudzwaard to emerging and underrecognized artists whose work complicates dominant narratives of contemporary art. The gallery’s 2026 programming reflects Hung’s intellectual ambition. After the Westerlund Roosen show, the New York space will host a three-person exhibition organized in collaboration with Sonnabend and Ubu Gallery that places Hans Bellmer’s........

© Observer