Kavi Gupta | Art Singapore 2023: Kavi Gupta Booth 1F01


    Join us January 11-15, 2023, in Singapore for the inaugural edition of ART SG, Southeast Asia’s largest art fair. Our presentation will include a diverse selection of works from across our program, while spotlighting the practices of many of the artists we represent who identify with Asian and AAPI backgrounds, including Miya Ando, Tomokazu Matsuyama, Suchitra Mattai, Manish Nai, Kour Pour, and Devan Shimoyama.


    The extraordinary setting offered by this dynamic addition to the global cultural landscape presents us with a unique opportunity to further our mission to amplify voices of diverse and underrepresented artists to expand the canon of art history, and to foster an evolving conversation among international communities about art and ideas.




  • Suchitra Mattai

  • “I’m inspired by the mystery of the objects I find. When I combine multiple objects and mediums in a work,...

    “I’m inspired by the mystery of the objects I find. When I combine multiple objects and mediums in a work, the collective aura translates into a space of new myth and new folktale. It's no longer about history. It’s about the immediate, and how the past plays into the contemporary conversation.”



    - Suchitra Mattai



    Suchitra Mattai is a multi-disciplinary artist whose work tells visual stories that touch on her Indo-Caribbean lineage. Blending painting, sculpture and installation with methods suggestive of domestic labor which she learned from her grandmother, such as sewing, embroidery and crocheting, the work addresses such topics as the legacy of colonialism, and relationships between culture and gender roles.
     Mattai has lived in Guyana, Canada, the United States, India, and Europe. Her work addresses the disorientation of not really having a single home—a feeling that informs much of how Mattai thinks about identity. Found objects, as well as craft-based processes and materials, play an essential role in her practice, in part because of the potentialities that arise from materials with forgotten or erased histories.

  • Suchitra Mattai, An Origin Story, 2022

    Suchitra Mattai

    An Origin Story, 2022
    Saris, fabric, and rope net
    75 x 68 in
    190.5 x 172.7 cm


    Mattai received an MFA in painting and drawing and an MA in South Asian art from the University of Pennsylvania, PA. Her work is in the collections of Crystal Bridges Museum of Art, Bentonville, AR, USA; Jorge Pérez; Olivia Walton; Denver Art Museum, Denver, CO, USA; Kiran Nader Museum of Art, Delhi, India; Tampa Museum of Art, Tampa, FL, USA; TIA Collection, Santa Fe, NM, USA; and Taylor Art Collection, Denver, CO, USA; among many others, and has been reviewed in publications such as HyperallergicThe Boston GlobeWidewalls, and Wallpaper Magazine, among others. Current and forthcoming exhibitions include In the Adjacent Possible at John Michael Kohler Arts Center, Sheboygan, WI, USA; Form Forecast at MCA Chicago, IL, USA; The Depth of Identity: Art as Memory and Archive, curated by Rosie Gordon-Wallace and supported by the Green Foundation; Reorient at the Wing Luke Museum, Seattle, WA, USA; and Breathe into the Past: Cross Currents in the Caribbean, at the Colorado Fine Arts Center, Colorado College, Colorado Springs, CO. Recent exhibitions include Suchitra Mattai: Breathing Room, Boise Art Museum, Boise, ID, USA; State of the Art 2020, Crystal Bridges Museum/the Momentary, Bentonville, AR, USA; Sharjah Biennial 14, Sharjah, UAE; and Realms of Refuge, Kavi Gupta, Chicago, IL, USA; as well as exhibitions at the Center for Visual Arts, Metropolitan State University of Denver, CO, USA and the San Antonio Museum of Art, San Antonio, TX, USA. 




  • Kour Pour

  • “I'm looking for a type of artistic freedom that has been granted to non-minority artists. My world is much bigger...

    “I'm looking for a type of artistic freedom that has been granted to non-minority artists. My world is much bigger than my cultural identity. I'm making work from my experiences of being in between.” 



    - Kour Pour 



    Kour Pour is a British-Iranian-American artist whose visual language is informed by longstanding, global traditions of intercultural exchange. By intersecting a wide range of material and aesthetic conventions that are connected to various geographic, cultural, and national heritages, Pour allows for a remapping of the standard understanding of “Eastern/Western” cultural exchange. Pour was born in Exeter, England. His father owned a small carpet shop, and Pour would spend time there as a child. He also often traveled to Los Angeles to visit family on his father’s side, and he ultimately attended Otis College of Art and Design (BFA, 2010). In Los Angeles, he was exposed to hip-hop and became interested in the idea of sampling as it is practiced in music production, and how he might apply a similar practice in his artwork. 
    Aswell an American citizen whose family heritage traces itself to the UK and Iran. His visual language extends across the globe, taking elements from a range of cultures similarly to how Persian carpets contain visual and symbolic references from every culture Persia traded with. “I'm interested in using images that are "outside" of my perceived culture,” Pour says. “I'm looking for a type of artistic freedom that has been granted to non-minority artists. My world is much bigger than my cultural identity. I'm making work from my experiences of being in between.”

  • Kour Pour, Fresh Off the Boat, 2021

    Kour Pour

    Fresh Off the Boat, 2021
    Acrylic on canvas over panel
    96 x 72 x 1 1/2 in
    243.8 x 182.9 x 3.8 cm



    A solo exhibition of Pour’s work is forthcoming at the Tehran Museum of Contemporary Art in Tehran, Iran. Other recent major exhibitions include A Boundless Drop to a Boundless Ocean, Orlando Museum of Art, Orlando, FL, USA; Kour Pour: Familiar Spirits, Kavi Gupta, Chicago, IL, USA; Returnee, The Club, Tokyo, Japan; Manzareh/Keshiki/Landscape, Ever Gold [Projects], San Francisco, CA, USA; Polypainting, Pearl Lam Galleries, Hong Kong, and GNYP Gallery, Berlin; Gold Standard: Ten Year Anniversary Exhibition at Ever Gold [Projects]; Decoration Never Dies, Anyway, Tokyo Metropolitan Teien Museum, Tokyo, Japan; and Labyrinth(s), Pearl Lam Galleries, Hong Kong.




  • Kour Pour takes us on a journey of discussion through his process and craft. 

    Kour Pour - In Conversation

  • Devan Shimoyama 

  • 'I see Trayvon Martin as a symbol that is much greater than an individual. Reflecting on a lot of young...
    "I see Trayvon Martin as a symbol that is much greater than an individual. Reflecting on a lot of young Black men killed due to police brutality or general racism, the hoodies are iterative. It is part of a continuum of processing. My feelings on them shift and change as the works shift and change with regards to scale, materiality and color."
    - Devan Shimoyama 



    Devan Shimoyama’s visually scintillating artworks stop people in their tracks. Clad in such finery as fur, feathers, glitter, rhinestones, and sequins, his paintings and sculptures emit a magical and joyous aura. Viewers easily enchanted by beautiful things might get lost in the shimmering artistry of Shimoyama’s expertly crafted cosmetic veils. Those whose eyes and minds are willing to travel beyond the surface subterfuge of glitter, flowers, and jewels gain precious entry into a complex world of mystery, introspection, rhapsody, and desire. 


    Shimoyama’s memorials invite us into an uncanny space that is both sparkling with color and light, and haunted by an undefined darkness. Shimoyama’s rhinestone and flower covered hoodies seem to promise glamor and excitement to a potential wearer, but these memorial artworks are ultimately defined by their absence. Arms splayed to the sides in a manner both sanctified and moribund, they are made in memory of 17-year-old Trayvon Martin, who was murdered by armed vigilante George Zimmerman while wearing a hoodie and walking through Miami Gardens, Florida.



  • Devan Shimoyama
    February, 2022
    Silk flowers, beads, and rhinestones on fabric
    50 x 75 x 10 in
    127 x 190.5 x 25.4 cm
  • Devan Shimoyama, Before The Storm, 2022

    Devan Shimoyama

    Before The Storm, 2022
    Timberland boots, rhinestones, silk flowers, epoxy resin and chain


    Shimoyama’s work has been exhibited in solo and group exhibitions throughout the United States. His solo exhibition Cry, Baby was presented at the Andy Warhol Museum, Pittsburgh, from October 13, 2018-March 17, 2019. In this exhibition, new and existing works by Shimoyama were juxtaposed along with a rotating selection of Warhol's Ladies and Gentlemen paintings from the 1970s. This juxtaposition offered a unique opportunity not only to interrogate the conversation between these two artists' work, but also to consider generational evolutions in the realm of how issues related to gender, sexuality, race and violence are portrayed in contemporary art.


    Other major current and recent exhibitions include Devan Shimoyama in The Regional, Kemper Museum of Contemporary Art, Kansas City, MO, USA; When We See Us, Zeitz Museum of Contemporary Art Africa, Cape Town, South Africa;  Oh, Gods of Dust and Rainbows, at FRONT International Cleveland Triennial for Contemporary Art, Cleveland, OH, USA; All the Rage, at Kunstpalais, Erlangen, Germany, Shimoyama’s debut European solo museum exhibition; A Counterfeit Gift Wrapped in Fire, Kavi Gupta, Chicago, IL, USA; Untitled (For Tamir), a single work exhibition in the Spotlight Gallery at The Rockwell Museum, Corning, NY, USA; Black Gentleman and Midnight Rumination, a major multi-museum exhibition at The Regional, co-organized by the Contemporary Arts Center, Cincinnati, OH, USA and the Kemper Museum of Contemporary Art, Kansas City, MO, USA; Garmenting: Costume as Contemporary Art, Museum of Arts and Design, New York, NY, USA; Realms of Refuge, Kavi Gupta, Chicago, IL, USA; Tell Me Your Story, Kunsthal KAdE, Amersfoort, Netherlands; Getting to Know You, Cleveland Institute of Art, OH, USA; We Named Her Gladys, Kavi Gupta, Chicago, IL, USA; The Barbershop Project, CulturalDC, Washington, DC, USA; Fictions, The Studio Museum in Harlem, New York, NY, USA; and Translating Valence: Redefining Black Male Identity, Urban Institute for Contemporary Arts, Grand Rapids, MI, USA. Shimoyama was awarded the Al Held Fellowship at the Yale School of Art in 2013.


  • In Conversation | Devan Shimoyama & Alisa Sikelianos-Carter with Rikki Byrd

    Kavi Gupta | Elizabeth St. May 26, 2022
    Kavi Gupta presents an evening of conversation between artists Devan Shimoyama and Alisa Sikelianos-Carter, and writer, educator and curator Rikki Byrd. Centering the topics of transformation, self-reflection, and mysticism, the...

  • 'My sculptures inquire, what is a book that cannot be read, or a sculpture that can’t fully be seen?” -...

    "My sculptures inquire, what is a book that cannot be read, or a sculpture that can’t fully be seen?”


     - Manish Nai 



    Manish Nai is on the vanguard of contemporary abstraction. His studio practice is rooted strongly in materiality and process, especially as those elements relate to daily life in Mumbai, India, where Nai lives and works.  Nai prioritizes materials that are both modest and quintessentially interconnected to his surroundings, such as jute, newspaper, indigo dye, second hand books and clothing, and reclaimed metal and paper. He fashions these materials into elegant geometric forms, while allowing them to retain their natural textures and colors.
    Many of Nai’s pieces are studies in tedious complexities, such as the long term effects of water, light, or gravity on organic materials. Nai is particularly interested in the ways materials evolve over the course of months and years. His works can be interpreted as visual expressions of the compression of time. When complete, they are presented as tightly organized units. The use of everyday and often discarded materials alludes to social hierarchies, both in terms of artistic media and Indian social structures. Nai's use of newspapers, for example, examines the tremendous diversity and contention within Indian society—there are almost 100 newspapers in 19 different languages distributed daily in India. He soaks them, stripping them of their words, and compresses them in wooden molds, elevating the material from disposable to the rarified.
    Similarly, jute is common throughout Indian society. A strong vegetable fiber, it is often woven into a durable fabric, similar to burlap; it was once used as clothing material for the poor and is now more commonly used in building construction. Nai hails from a family of jute traders, and his intimate understanding of the material is informed equally by his cultural and family background.


  • Manish Nai, Untitled , 2019

    Manish Nai

    Untitled , 2019
    Dyed jute and wood

    80 x 3 x 3 in
    213.4 x 7.6 x 7.6 cm
    Variable arrangements and poles
  • Manish Nai, Untitled, 2017

    Manish Nai

    Untitled, 2017
    Used clothes and wood
    120 x 3 x 3 in each, installation variable
    304.8 x 7.6 x 7.6 cm each, installation variable



    Nai represented India in the 9th Shanghai Biennale, Mumbai City Pavilion, Shanghai, China, and is a Pollock-Krasner Foundation Award winner. His work has been exhibited by some of the most influential institutions in the world, including Het Noordbrabants Museum, Netherlands; Fondation Fernet-Branca, Saint-Louis, France; Devi Art Foundation, Kasturbhai Lalbhai Museum, Ahmedabad, India; Bhau Daji Lad Museum, Mumbai, India; NTU Center for Contemporary Art Singapore, Gillman Barracks, Singapore; Museum of Modern Art in Warsaw, Poland; The Sculpture Park at Madhavendra Palace, Nahargrah Fort, Jaipur, India; DR. Bhau Daji Lad Museum, Mumbai, India; Art Science Museum, Singapore; Birla Academy of Art & Culture, Kolkata, India; National Gallery of Modern Art, Mumbai, India; and Beppu Museum, Beppu, Japan. Nai earned a Diploma in Drawing and Painting from the L.S. Raheja School of Art in Mumbai, India.


  • Manish Nai in Museums Without Borders: MAP x National Gallery Singapore, a unique digital collaboration between MAP and institutions in India and across the world.

  • Inka Essenhigh

  • “The unknown comes from the painting process, putting brush to canvas. I do have an agenda, and a world I...

    “The unknown comes from the painting process, putting brush to canvas. I do have an agenda, and a world I want to create. I’m not interested in meaninglessness. But I am looking for the feeling that the images are coming to me.”



    - Inka Essenhigh 

    Inka Essenhigh is among the most influential and celebrated painters working today. Her masterly, dreamlike paintings translate her encounters with, and intuitions about, contemporary society into haunting, playful, sometimes disturbing visual scenes. 
    Essenhigh is part of a generation of artists that includes Rachel Feinstein, Lisa Yuskavage and Cecily Brown, that rose to prominence in 1990s New York as leaders in the contemporary return to figuration. Employing a mix of automatism, imagination and “inner vision,” Essenhigh translates the visible world into arabesque compositions that suggest unseen worlds of energy, feeling and mystery lurking just beyond the surface of everyday life. These imaginative and highly abstracted landscapes invite viewers to temporarily abscond from the corporeal realm into a world of symbolism and mystery.



  • Inka Essenhigh, New Jersey 2600 C.E., 2019

    Inka Essenhigh

    New Jersey 2600 C.E., 2019
    Enamel on canvas
    35 1/2 x 80 x 2 in
    90.2 x 203.2 x 5.1 cm



    Recent exhibitions of Essenhigh's work include Disruption: Works from the Vicki and Kent Logan Collection, Denver Art Museum, Denver, CO, USA; Inka Essenhigh: Uchronia, Kavi Gupta, Chicago, USA; Inka Essnhigh: Other Worlds, Susquehanna Art Museum, Harrisburg, PA; SIte Specific Installation, Drawing Center, New York, USA; Inka Essenhigh: Between Worlds, Frist Art Museum, Nashville, TN, USA Inka Essenhigh: A fine line, Virginia MOCA, Virginia Beach, VA, USA; Comic Abstraction: Image-Breaking, Image-Making, MOMA, New York, USA; USA Today, Royal Academy of Arts, Burlington Gardens, London, England; 2nd Berlin Biennale, Berlin, DE; Supernova, San Francisco Museum of Modern Art, CA, USA; Hybrids, Tate Gallery, Liverpool, England and Bienal de Sao Paulo, Brazil. Work by Essenhigh is in the collections of the Tate, the Denver Art Museum, MOMA / P.S.1, San Francisco MOMA, the Seattle Art Museums, and many others.


  • Beverly Fishman

  • “I think about the totality of the experience of the color. Color is mysterious to me.” - Beverly Fishman

    “I think about the totality of the experience of the color. Color is mysterious to me.”



    - Beverly Fishman

    Beverly Fishman is a leading protagonist in the field of politically activated abstract art. An Anonymous Was A Woman Award Winner, John Simon Guggenheim Memorial Foundation Fellow, and National Endowment for the Arts Grantee, Fishman dedicates her studio practice to an aesthetic examination of people’s relationship with the business, politics and chemistry of healing. For decades, Fishman's research has focused on the visual vocabulary that pharmaceutical designers deploy in their calculated efforts to market antidepressants, anxiolytics, amphetamines, anti-inflammatories, beta blockers, opioids, and other chemicals to the masses. Morphed and elevated by Fishman in her studio, these medicinal motifs become the building blocks for ecstatic, abstract visual cocktails that open doors to the aesthetic sublime.
    Fishman’s luminescent, geometric relief paintings beguile the eyes. Along with their radiant material presence, their uncanny structures challenge viewers to look beyond the surface, to try to recall where it was that they have seen these curious shapes before. Epiphany is aided by the titles Fishman gives her paintings, which invoke a litany of ills, such as depression, high blood pressure, bipolar disorder, opioid addiction, insomnia, and ADHD—these are pharmaceutical forms, abstracted from the pills we ingest every day to balance our bodies and minds. Formal conceptual concerns related to movements such as Minimalism and Light and Space also guide Fishman’s practice, as does intuition. Among her most masterful aesthetic faculties is Fishman’s ability to create specialized, highly emotive color worlds for her exhibitions. 

  • Beverly Fishman, Untitled (Depression), 2016

    Beverly Fishman

    Untitled (Depression), 2016
    Urethane paint on wood
    38 x 38 x 2 in
    96.5 x 96.5 x 5.1 cm
  • Beverly Fishman, Untitled (Diabetes, Opioid Addiction, Pain, Osteoporosis, Depression), 2021

    Beverly Fishman

    Untitled (Diabetes, Opioid Addiction, Pain, Osteoporosis, Depression), 2021
    Urethane paint on wood
    46 x 88 3/4 x 2 in
    116.8 x 225.4 x 5.1 cm

    Recent major exhibitions of Fishman's work include FEELS LIKE LOVE, Kavi Gupta, Chicago, IL; Recovery, Eli and Edythe Broad Art Museum, East Lansing, MI, USA; I Dream of Sleep, Miles McEnery, New York, NY, USA; Future Perfect, Kavi Gupta, Chicago, IL, USA; Double Edged: Geometric Abstraction Then and Now, curated by Dr. Emily Stamey, Weatherspoon Art Museum, Greensboro, NC, USA; DOSE, curated by Nick Cave, CUE Art Foundation, New York, NY, USA; Pill Spill, Detroit Institute of Art, Detroit, MI, USA; and Beverly Fishman: In Sickness and in Health, Chrysler Museum of Art, Norfolk, VA, USA. Fishman has received numerous awards, including the 2018 Anonymous Was A Woman Award; the John Simon Guggenheim Memorial Foundation Fellowship; and the NEA Fellowship Grant. Work by Fishman is included in the collections of the MacArthur Foundation, the Detroit Institute of Arts, the Columbus Museum of Art, the Chrysler Museum of Art, and many others. Fishman served as the head of painting and as artist-in-residence at the Cranbrook Academy of Art for twenty-seven years.

  • Miya Ando 

  • 'Making art is a function of thinking, I endeavor to stay on a focused train of thought from one piece...

    "Making art is a function of thinking, I endeavor to stay on a focused train of thought from one piece to the next, each completed work begets the next work. It’s a continuum of thought and the works are a residue of that thinking process."



    - Miya Ando




    Miya Ando is a multidisciplinary abstract artist whose works reference the ephemerality of nature and the transitory nature of existence. Ando's images and forms reference such fleeting stuff as clouds, moonlight, tides, and the seasons. Her materials—such as steel, glass, and aluminum—convey a sense of durability and strength. Transformed by Ando, materials related to permanence become embodiments of impermanence.
    Ando presents the titles of her works in Japanese and English. During her time living in Japan, she researched literary and historical texts, compiling poetic Japanese descriptions of natural phenomena. Present in the Japanese descriptions are nuanced layers of thought often lacking in the English translation. These bi-lingual titles convey the sense of duality Ando experiences living between two cultures.




    Ando’s work has been the subject of recent solo exhibitions at Kavi Gupta | Washington Blvd., Chicago; The Asia Society Museum, Houston; The Noguchi Museum, New York; Savannah College Of Art and Design Museum, Savannah; The Nassau County Museum, Roslyn Harbor; and The American University Museum, Washington DC. Her work has also been included in recent group exhibitions at The Crystal Bridges Museum of American Art, Bentonville; The Los Angeles County Museum of Art; The Haus Der Kunst, Munich; The Bronx Museum; and The Queens Museum of Art, NY. Ando’s work is included in the public collections of  LACMA; The Nassau County Museum; The Corning Museum of Glass; The Detroit Institute of Arts; The Luft Museum; Scottsdale Museum of Contemporary Art; The Santa Barbara Museum of Art; The Museum of Art and History;  among other public institutions as well as in numerous private collections. Ando has been the recipient of several grants and awards including the Pollock-Krasner Foundation Grant Award, and has produced numerous public commissions, most notably a thirty-foot-tall sculpture built from World Trade Center steel installed in Olympic Park in London to mark the ten-year anniversary of 9/11, for which she was nominated for a DARC Award in Best Light Art Installation. Ando was also commissioned to create artwork for the historic Philip Johnson Glass House, New Canaan, CT. The artist holds a bachelor’s degree in East Asian Studies from the University of California, Berkeley, studied East Asian Studies at Yale University and Stanford University, and apprenticed with a Master Metalsmith in Japan.

  • Tomokazu Matsuyama 

  • “The convenience of our time has made how layered our culture is indefinite. When we see an image, we try...

    “The convenience of our time has made how layered our culture is indefinite. When we see an image, we try to find connections. I accumulate all of this visual dialect and bring it together as though it has meaning, and the viewers make up a story based on their upbringing."


                              - Tomokazu Matsuyama



    A first-generation Japanese American who lives and works in New York City, Tomokazu Matsuyama has developed a singular aesthetic grounded in an elegant expression of what he refers to as “the struggle of reckoning the familiar local with the familiar global.” As a bi-cultural visual artist, he is keenly aware of the nomadic diaspora, a community of wandering people who seek to understand their place in a world full of contrasting visual and cultural dialects.


    Though he manages a dynamic, wide ranging, and truly global practice that includes painting, sculpture, and large-scale public works, Matsuyama notably remains dedicated to furthering the most personal and intimate aspects of his aesthetic evolution. Each painting that leaves his studio is the fulfillment of hundreds of hours of work, as intensive research into source imagery converges with the application of innumerable layers of custom blended paint. The astoundingly vivid surfaces of his paintings project an almost digital brilliance, yet, upon close inspection, a painterly reality becomes clear, as hand-made brush strokes intermingle with delicately drawn figures, gestural splotches and drips, and meticulously spray-gunned backgrounds.




  • Tomokazu Matsuyama, Private Drawing Dogma, 2022

    Tomokazu Matsuyama

    Private Drawing Dogma, 2022
    Acrylic and mixed media on canvas, framed
    Arrangement of three 12 in (30 cm) canvases



    Matsuyama received his MFA in Communications Design from the Pratt Institute, New York. Recent exhibitions include Tomokazu Matsuyama: Harmless Charm, Sotheby's Hong Kong, Hong Kong; Tomokazu Matsuyama, The Best Part About Us, Kavi Gupta | Elizabeth St, Chicago, IL; Realms of Refuge, Kavi Gupta, Chicago, IL; Tomokazu Matsuyama: Accountable Nature, Long Museum West Bund, Shanghai, China; Tomokazu Matsuyama: No Place Like Home, Zidoun-Bossuyt Gallery, Luxembourg; Tomokazu Matsuyama: Oh Magic Night, Hong Kong Contemporary Art (HOCA) Foundation, Repulse Bay, Hong Kong; Edo Pop: The Graphic Impact of Japanese Prints, Japan Society, New York, NY, USA; Tomokazu Matsuyama: Palimpsest, Harvard University, Cambridge, MA, USA; Thousand Regards, Katzen Arts Center at American University Museum, Washington, DC, USA; and Made in 17 hours, Museum of Contemporary Art Museum, Sydney, Australia, among others.
     Public displays of Matsuyama's work include a monumental, permanent sculptural installation, activating Shinjuku Station East Square, Tokyo, Japan, one of the busiest urban train stations in the world, as well as acclaimed, large-scale public commissions in Beverly Hills, CA, and in the Bowery neighborhood of Manhattan, mobilizing Matsuyama's signature examinations of bi-cultralism and pop culture.
    Matsuyama’s works are in the permanent collections of the Long Museum, Shanghai, China; Powerlong Art Museum, Shanghai, China; Los Angeles County Museum of Art (LACMA), Los Angeles, CA, USA; Asian Art Museum, San Francisco, CA, USA; the Royal Family of Dubai; Dean Collection (Swizz Beatz and Alicia Keys), USA; the institutional collections of Microsoft, Toyota Automobile, Bank of Sharjah, NIKE Japan, and Levi’sStrauss and Co. Japan; the Asian Art Museum of San Francisco, CA, USA; Pt. Leo Estate Sculpture Park, Melbourne, Australia; the Crystal Bridges Museum of American Art, Bentonville, AR; and Xiao Museum, Suzhou, China; among others.