It is heartening to see momentum towards the production of discourse along the axis of curatorial practice. Chiang Po-Shin’s article The Contemporariness of Material: An Investigation Centred around the ‘Exhibition of the École de Seoul’ not only traces a path of Taiwan’s exhibition history, but is also an example of Inter-Asia studies and the mobility of art. In addition, if the crisis of art history rooted in colonialist concepts was believed to give birth to visual studies, we may as well argue that Goldsmiths’ College, a leading institution for curatorial education, has established a new curatorial paradigm. Moreover, ALTERing NATIVism by TheCube Project Space, Nobuo Takamori’s recent curatorial practice, and Lee UFan as a node in the 2019 Asian Art Biennale all served as alternatives to the thus-far description-based discipline of art history. As with the biennales in Havana, Dakar, Johannesburg, Istanbul and Gwangju, these attempts can also be construed as pioneering initiatives against the dominance of Western art history. The challenge we must take up today is to simultaneously consider all regions, nations, religions and global contingencies when engaging in debates concerning issues of history of Asian or Taiwanese art. The formal language of the exhibition indeed makes it possible for us to meet this challenge.