This article is by Lee Jian and read by an artificial voice.

[INTERVIEW]
TAIPEI, Taiwan - When it comes to spotting great art, Taiwan has often been a step ahead. High-selling Chinese modernists Sanyu (1895-1966) and Zao Wou-ki (1920-2013), for instance, owe their breakthroughs in Asia not to mainland China but to Taiwan, where local galleries and collectors were the first in the region to recognize their genius.
That same instinct for discovery still defines Taiwan's art scene today - one built on enduring trust between the island country's galleries and collectors.
"Taiwanese galleries maintain very close relationships with their collectors, nurturing them over time, which creates a strong and stable ecosystem. The ongoing confidence between collectors and galleries is one of Taiwan's biggest strengths," Taiwan Art Gallery Association Chairperson (TAGA) Claudia Chen told the Korea JoongAng Daily in an interview on Oct. 25.

In her position, she also heads Art Taipei, the longest-running art fair in Asia, held annually since 1992. This year's edition, from Oct. 24 to 27 at the Taipei World Trade Center, featured 120 galleries, including prominent Taiwanese galleries such as Liang Gallery, Soka Art, Asia Art Center, Bluerider ART, Artemin Gallery and Yiri Arts; Korea's Gallery Baton and Gana Art; and international heavyweights like Perrotin, Kwai Fung Hin Art Gallery, Hanart TZ Gallery, De Sarthe, Scai The Bathhouse and Whitestone Gallery.
The fair drew more than 70,000 visitors over its five-day run. Attendance during the VIP preview day on Oct. 23 rose by 16 percent from last year, according to TAGA.

Chen attributes the fair's longevity and resilience to a solid base of local collectors.
"Nurturing collectors is key," she said. "They encourage galleries to participate, not just in Art Taipei, but also in overseas fairs - such as those in Singapore, Tokyo and Seoul - while also organizing local events throughout the year in cities like Tainan, Taichung and Kaohsiung. These can take the form of talks, luncheons or guided exhibition tours, all aimed at cultivating art appreciation and deepening relationships with collectors.
"Personal interaction matters a lot; our collectors prefer face-to-face engagement over online platforms."

Taiwan has a longstanding culture of art collecting that especially flourished after the Kuomintang-imposed martial law was lifted in the late 1980s. A practice rooted in consistent engagement rather than speculation, Taiwanese collectors are more open to discovering emerging artists rather than purchasing already-well-known names - a contrast with countries where collecting is still a relatively nascent practice, including Korea.
"Global economic shifts and new tariffs certainly do affect markets differently, but the fair continues to serve as an essential meeting place," Chen said.
This deep-rooted collector culture also makes Taiwan an increasingly attractive market for international galleries. A total of 15 Korean galleries participated in this year's edition - a number that has steadily grown in recent years.

"Even though this is only my second year as chairwoman, I was previously part of Art Taipei's organizing committee about seven or eight years ago. Back then, we often wondered why more Korean galleries weren't participating. That's why we began reaching out to the Galleries Association of Korea," she said.
Since then, the two organizations have developed a close relationship, sharing networks of collectors and collaborating on cross-promotional initiatives. Earlier this year, TAGA representatives - accompanied by Taiwanese government officials - visited Korea to present an overview of the Taiwanese art market and introduce Art Taipei to local galleries.

This outreach appears to be paying off. Korean exhibitors such as Gana Art and Gallery Baton drew significant attention from Taiwanese collectors this year, with some directly approaching Chen to inquire about their works. Smaller part...

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