Tishan Hsu


Installation view from Tishan Hsu: Liquid Circuit

Image courtesy of the artist and Hammer Museum.

Installation view from Tishan Hsu: Liquid Circuit

Image courtesy of the artist and Hammer Museum.

Installation view from Tishan Hsu: Liquid Circuit

Image courtesy of the artist and Hammer Museum.

Blue Cross, 1991

Image courtesy of the artist and Empty Gallery

Installation view from Searching the Sky for Rain

Image courtesy of the artist and SculptureCenter.

Nessea, 1984

Image courtesy of the artist and Empty Gallery.

Installation view from Phantom Plane, Cyberpunk in the Year of the Future

Image courtesy of the artist and Tai Kwun.

Installation view from Phantom Plane, Cyberpunk in the Year of the Future

Image courtesy of the artist and Tai Kwun.

Installation view from Cutting the Stone

Image courtesy of the artist and Miguel Abreu Gallery.

Installation view from Into Form: Selections from the Rose Collection, 1957 – 2018

Image courtesy of the artist and Rose Art Museum.

Installation view from Glow Like That

Image courtesy of the artist and K11 Art Foundation.

Born in Boston, Massachusetts, Hsu’s formative years were in Zurich (Switzerland), Ohio, Wisconsin, Virginia and New York. Hsu had his first one-person show as a teenager in Virginia, where his paintings were exhibited throughout the region. He studied architecture at the Massachusetts Institute of Technology where he received his B.S.A.D. in 1973 and M.Arch. in 1975. While at MIT, he studied film at the Carpenter Center, Harvard University. He moved to New York in 1979, where he currently resides. Hsu first showed in New York at the Pat Hearn Gallery. Since 1985, Hsu has shown extensively in the US, Europe and Mexico with works inmany public and private collections. From 1988-90, Hsu lived and worked in Cologne, Germany.


From 2013-2016, Hsu maintained a studio in Shanghai, China, where he worked on a project using historical photographs discovered in photo albums of his extended family. Much of the artist’s work has attempted to convey an embodied technology. Hsu’s interest in technology has not been in the use of a particular apparatus but the perception of a technological affect. His work has included paintings, interactive digital media projections, and sculpture.


Selected public collections include Metropolitan Museum, New York, Centre Pompidou, Paris, Museum fur Moderne Kunst, Frankfurt am Main, High Museum, Atlanta, Terra Museum, Mexico City, Los Angeles Museum of Contemporary Art, Los Angeles, Museum of Contemporary Art, North Miami, and the Weisman Museum, Minneapolis. Hsu has served as a Member of the Board of White Columns and a Governor of the Skowhegan School of Painting and Sculpture. Until recently, Hsu was a Professor of Visual Arts at Sarah Lawrence College, and a visiting professor at Pratt Institute and Harvard University.


Massachusetts Institute of Technology, Cambridge, Massachusetts, B.S.A.D., M.Arch.

Public Collections

The Whitney Museum of American Art
Rubell Family Collection
Rose Art Museum, Waltham, MA
Museum fur Moderne Kunst, Frankfurt am Main
Metropolitan Museum of Art, New York
Centre George Pompidou, Paris
High Museum, Atlanta
Terra Museum, Mexico City
Los Angeles Museum of Contemporary Art, Los Angeles
Museum of Contemporary Art, North Miami, Florida
Weisman Museum, Minneapolis, Minnesota


1988 - 1990
Cologne, Germany


1994 - 2018
Professor of Visual Arts, Sarah Lawrence College, Bronxville, NY
2005 - 2006
Visiting Professor of Visual and Environmental Studies Harvard University, Cambridge, MA
1993 - 1996
Visiting As sistant Professor, Patt Institute, Brooklyn, NY
Visiting Artist: Tyler School of Art, Temple University
Visiting Artist: Stanford University, Dept. of Art
Visiting Artist: Cranbrook Academy of Art - Painting Dept.
Visiting Artist: Yale University School of Art - Sculpture Dept
Guest Lecturer: Columbia College, Columbia University
Guest Lecturer: Carnegie Mellon University Art Dept.

Selected Solo Exhibitions

Miguel Abreu Gallery, New York
Tishan Hsu: Liquid Circuit, SculptureCenter, New York
Tishan Hsu: Liquid Circuit, Hammer Museum, Los Angeles
delete, Empty Gallery, Hong Kong
The Annex, New York
Galerie Rolf Ricke, Cologne, Germany
Lino Silverstein Gallery, Barcelona, Spain
Pat Hearn Gallery, New York
M.I.T. List Visual Arts Center, Cambridge, Massachusetts
Carnegie Mellon University Art Gallery, Pittsburgh
Leo Castelli Gallery, New York
Pat Hearn Gallery, New York
Hillman Holland Gallery, Atlanta
Pat Hearn Gallery, New York
Pat Hearn Gallery, New York
White Columns, New York

Selected Group Exhibitions

The Body Electric, Museum of Art and Design, Miami
“Desperately Seeking Susan”, Kathleen Cullen Gallery, New York
“Extension – Mind to Body to Technology", San Giacomo degli italiani, Naples, Italy (with Cybercast from New York)
Below the Canel: After 9/11, Asian American Arts Centre, New York
“Einfach Kunst. Sammlung Rolf Ricke”, Neues Museum in Nürnberg, Germany
“Selections from the Permanent Collection”, Museum of Contemporary Art, North Miami, Florida
“Pat Hearn Gallery – Part One (1983-1987)"
“Digital Hybrids”, McDonough Museum of Art, Youngstown, Ohio
“Techno.Seduction”, The Cooper Union, New York
“Natural Spectacles”, David Winter Bell Gallery, Providence, Rhode Island
“Art in the Age of Information”, Pittsburgh Cultural Trust & 808 Penn Modern, Wood Street Galleries, Pittsburgh, Pennsylvania
“Regard Multiple - Acquisitions de la Societe des Amis du Musee national d’art moderne”, Centre George Pompidou, Paris
“A New American Flag”, Max Protecht Gallery, New York
“42nd Biennial Exhibition of Contemporary American Painting”, The Corcoran Gallery of Art, Washingon, D.C.
“A La Bibliothek”, Salzburger Kunstveriein, Salzburg, Austria; Stadt. Museum, Mulheim a.d. Ruhr, West Germany
“Vertigo”, Galerie Thaddeus Ropac, Paris
“Mind Over Matter”, Whitney Museum of American Art, New York
“Culture in Pieces - Other Social Objects”, Beaver Art Gallery, Beaver College, Glenside, Pennsylvania
“The Technological Muse”, Katonah Art Museum, Katonah, New York
”Hybrid Neutral: Modes of Abstraction and the Social”, 1988-1990 traveling exhibiton organized and circulated by Independent Curators Inc., New York
“The Shadow of Presence”, Galerie Charles Cartwright, Paris
“Status of Sculpture”, 1990-1991, ELAC Art Contemporain, Lyon, France; Institute of Contemporary Art, London;Kunstmuseum de Hasselt, Hasselt, Belgium; Stiftung Starke, Gemeinnutzige Kunststiftung, Berlin, Germany
“Spellbound”, Marc Richards Gallery, Los Angeles
“Baldessari, Rauschenburg, Rosenquist, Hsu, Quentel”, Ernst Busche Gallery, Cologne, Germany
“Einleuchten - Will, Vorstel & Simul”, Deichtorhallern, Hamburg, West Germany
“Painting Beyond the Death of Painting”, Kuznetsky Most Exhibition Hall, Moscow
“The Silent Baroque”, Galerie Thaddaeus Ropac, Salzburg
“Nonrepresentation (The Show of the Essay)”, Annie Plumb Gallery, New York
“The Binational - American Art of the late 80’s”, Institute of Contemporary Art & The Museum of Fine Arts, Boston, Massachusetts; Stadtische Kunsthalle, Kunstsammlung Nordrhein-Westfalen & Kunstverein fur die Rheinlande and Westfalen Dusseldorf, West Germany
“Art a the End of the Social”, Rooseum, Malmo, Sweden
“A New Generation of the 1980’s: American Painters and Sculptors”, The Metropolitan Museum of Art, New York
“Complexity & Contradiction”, Scott Hanson Gallery, New York
“The Inside and the Outside”, Rhona Hoffman Gallery, Chicago
“Drawings”, Laurie Rubin Gallery, New York
“New York Art Now” (Parat II), Saatchi Collection, London, England
“Leo Castelli y Sus Artistas”, Centro Cultural Arte Contemporaneo, A.C., Mexico City, Mexico
“Primary Structures”, Rhona Hoffman Gallery, Chicago
“Sculptures”, Galerie Charles Cartwright, Paris, France
“NY New Art”, Mayor Rowan Gallery, London, England
“Locations”, Galerie Thaddeus Ropac, Salzburg and Galerie im Taxispalais, Innsbruck, Austria
“The Ironic Sublime”, Galerie Albrecht, Munich, West Germany
“The Antique Future”, Massimo Audiello Gallery, New York
“Armleder, Artschwager, Hsu”, Pat Hearn Gallery, New York
“Modern Sleep”, American Fine Arts Gallery, New York
“As Sculpture”, Daniel Newburg Gallery, New York
“Brave New World - A New Generation”, Charlottenburg Exhibition Hall, Copenhagen, Denmark
“More Than Meets the Eye”, Fabian Carlson Gallery, London, England
“Emily, Anna & Tishan: The First Generation”, Asian Arts Institute, New York
“Invitational”, Matthews Hamilton Gallery, Philadelphia
“Brilliant Color”, Baskerville + Watson Gallery, New York
“Update”, White Columns, New York
“Berkshire Art Museum, Pittsfield, Massachusetts
“Terminal Show”, Brooklyn, New York
“Arabia Felix”, Art Galaxy, New York


Benhamou-Huet, Judith. “Art Basel Hong Kong: le futur de l’art est en Asie.” Les Echos, March 28, 2019
Harris, Gareth. “Overlooked, but not forgotten: Tishan Hsu presents first solo gallery show in over 20 years.” Art Newspaper, March 25, 2019
Loos, Ted. “The World Catches Up with Tishan Hsu.” New York Times, March 27, 2019
Ng, Brady. “Tishan Hsu: Delete.” ArtAsiaPacific, no. 113 (May/June 2019): 129
Ugelvig, Jeppe. “Tishan Hsu.” ArtReview Asia 71, no. 3 (April 2019): 76–83
Goyanes, Robert. “Once Deemed Too Weird for the 1980s Art World, Tishan Hsu Is Back.” Artsy, January 30, 2018
Kennicott, Philip. “The 1980s New York art world was cynical and crass. Should we be honoring it?” Washington Post, February 14, 2018
Ugelvig, Jeppe. “Gallery-as-Form: ‘The Conditions of Being Art’ at the Hessel Museum of Art.” Afterall, October 4, 2018
Moran, Laura. “Focus on the Collection: Tishan Hsu’s Liquid Circuit.” Weisman Art Museum website, Spring 2017
Schwabsky, Barry. “Sascha Braunig: Foxy Production.” Artforum International 53, no. 10 (Summer 2015): 356
Rubinstein, Raphael. “Whose 1980s?” Art in America 91, no. 12 (December 2003): 35–39
Cotter, Holland. “Art in Review: Techno Seduction.” New York Times, February 7, 1997
Hsu, Tishan. “Tishan Hsu.” Art Journal 56, no. 1, “Aesthetics and the Body Politic” (Spring 1997): SS17
Miller, Donald. “Artists master technologies at city galleries.” Pittsburgh Post-Gazette, March 13, 1993
Bruyen, Eric de. “Mind Over Matter,” Forum International (June 1991): 80–81
Cotter, Holland. “Deconstructed Painting: Some Younger Artists in the 1980s.” Art Journal 50, no. 1 (Spring 1991): 79–82
D’Amato, Brian. “Mind Over Matter.” Flash Art 24, no. 156 (January/February 1991): 134
Dubrow, Norman. “The Neo Tendencies of the Late 1980s.” Drawing (March/April 1991): 121–25
Hayt-Atkins, Elizabeth. “Envisioning the Yesterday of Tomorrow and the Tomorrow of Today.” Contemporanea, no. 24 (January 1991): 76
Puvogel, Renate. “Status of Sculpture.” Kunstforum International, no. 113 (May/June 1991): 335–38
Renton, Andrew. “Status of Sculpture.” Flash Art 24, no. 156 (January/February 1991): 137–38
Richard, Paul. “Abstract and Personal: At the Corcoran Biennial, A Passionate Bow to the Past.” Washington Post, September 6, 1991
Schultz, Heinz. “À la Bibliothek.” Kunstforum International, no. 111 (January/February 1991): 336–37
Brenson, Michael. “Review/Art: In the Arena of the Mind, at the Whitney.” New York Times, October 19, 1990
Cooke, Lynne. “Mind Over Matter. New York, Whitney Museum.” Burlington Magazine 132, no. 1053 (December 1990): 899
Jennings, Rose. “The Status of Sculpture.” City Limits, September 27, 1990, 72
Larson, Kay. “Every Object Tells a Story.” New York Magazine, October 29, 1990, 64–65
Smith, Roberta. “Review/Art: The Group Show as Crystal Ball.” New York Times, July 6, 1990
Soulillou, Jacques. “The Shadow of Presence.” Art Press, 146 (April 1990): 83
Taylor, John Russell. “Shapes and Assemblies.” The Times (London), October 5, 1990
Atkins, Robert. “Tishan Hsu.” 7 Days, May 3, 1989, 64
Avgikos, Jan. “The Binational, ICA Boston.” Artscribe International 76 (Summer 1989): 83–84
Harrison, Katharine. “Tishan Hsu, Pat Hearn.” Flash Art, no. 147 (Summer 1989): 149–50
Heartney, Eleanor. “Homeward Unbound.” Sculpture (September/October 1989): 20–23
Kuspit, Donald. “Tishan Hsu.” Artforum International 27, no. 10 (Summer 1989): 136–37
Leigh, Christian. “Art on the Verge of a Nervous Breakdown.” Contemporanea, January 19, 1989, 99–103
Levin, Kim. “Umbilical Cords.” Village Voice, April 25, 1989, 91
Smith, Roberta. “Tishan Hsu, Pat Hearn Gallery.” New York Times, April 21, 1989
Zaya, Octavio. “Social Security: Interview with Tishan Hsu.” Balcón 4 (Fall 1989): 108–21
Zinsser, John. “Tishan Hsu.” Journal of Contemporary Art 2, no. 1 (Spring/Summer 1989): 23–32
Silver, Joanne. “Hsu’s works link human and machines.” Boston Herald, May 27, 1988
Bonetti, David. “High Quality Tech.” Boston Phoenix, May 20, 1988
Collins, Tricia, and Richard Milazzo. “Tropical Codes III.” Kunstforum 92 (December/January 1987–88): 126–29
Joselit, David. “Investigating the Ordinary: Young Artists Who Take Domestic Existence as Their Central Metaphor.” Art in America 76, no. 5 (May 1988): 148–55
Ottmann, Klaus. “Tishan Hsu: The Suburban Dream of Modernism.” Flash Art, no 139 (March/April 1988): 106–7
Plagens, Peter. “The Emperor’s New Cherokee Limited 4x4.” Art in America 76, no. 6 (June 1988): 23–24
Temin, Christine. “Hsu Tackles Some of the Big Issues.” Boston Globe, May 19, 1988
Cotter, Holland. “Tishan Hsu at Castelli and Pat Hearn.” Art in America 75, no. 9 (September 1987): 173
Hart, Claudia. “Tishan Hsu.” Artscribe International 63 (May 1987): 52–56
Jinkner-Lloyd, Amy. “Ti Shan Hsu.” Art Papers 11, no. 3 (May/June 1987): 48–49
Kuspit, Donald. “Tishan Hsu.” Artforum International 26, no. 1 (September 1987): 122
Liebmann, Lisa. “M.B.A. Abstractionism.” Flash Art, no. 132 (February/March 1987): 86–89
McCoy, Pat. “‘The Antique Future,’ Massimo Audiello.” Artscribe International 64 (Summer 1987): 77–78
Smith, Roberta. “Where to See the Newest of the New American Art.” New York Times, May 1, 1987
Talley, Dan R. “Hsu Couples Disparate Elements in ‘Unnamable’ Works,” Creative Loafing (Atlanta, GA), February 28, 1987
Wei, Lilly. “Talking Abstract: Part II.” Art in America 75, no. 12 (December 1987): 112–29, 171
Woodruff, Mark. “‘The Antique Future’: Articulating the Void.” New Art Examiner 14, no. 10 (June 1987): 36–37
Indiana, Gary. “Ti Shan Hsu: A Chat.” Village Voice, June 24, 1986, 75
Kuspit, Donald. “Ti Shan Hsu at Pat Hearn.” Artscribe International 59 (September/October 1986): 76
McGill, Douglas. “Art People.” New York Times, October 17, 1986
Schwabsky, Barry. “Ti Shan Hsu.” Flash Art, no. 130 (October/November 1986): 74–75
Zimmer, William. “A Rarefied Atmosphere in the Feisty East Village.” New York Times, November 7, 1986
Bohm-Duchen, Monica. “Nine Painters from New York.” Flash Art, no. 124 (October/November 1985): 56
Cecil, Sarah. “Ti Shan Hsu.” Art News 84, no. 5 (May 1985): 124–25
Edelman, Robert. “Ti Shan Hsu at Pat Hearn.” Art in America 79, no. 7 (July 1985): 131–32
Mueller, Cookie. “Review.” Details Magazine, April 1985, 71–72
Warren, Ron. “Brilliant Color.” Arts Magazine 58, no. 8 (April 1984): 38–39

Exhibition Catalogues and Books

Heartney, Eleanor. “Art in the Nineties: A Mixed Prognosis.” In Critical Condition: American Culture at the Crossroads. Cambridge: Cambridge University Press
Rindler, Robert, Deborah Willis, Holly Block, Deborah Bright, David Deitcher, and Berta M. Sichel. Techno.Seduction: An Exhibition of Multimedia Installation Work by Forty Artists. New York: Cooper Union for the Advancement of Science & Art
Balken, Debra Bricker. Natural Spectacles. Providence, RI: David Winton Bell Gallery, Brown University
Pouillon, Nadine, and Anne Bonnin. Regard Multiple–Acquisitions de la Société des Amis du Musée National d’Art Moderne. Paris: Centre Georges Pompidou
42nd Biennial Exhibition of Contemporary American Painting. Washington, DC: Corcoran Gallery of Art
Armstrong, Richard. Mind Over Matter: Concept and Object. New York: Whitney Museum of American Art
Brunon, Bernard. Status of Sculpture. Lyon, France: Espace lyonnais d’art contemporain
Fairbrother, Trevor, and Paula Marincola. Culture in Pieces: Other Social Objects. Glenside, PA: Beaver College Art Gallery
Fellin-Yeh, Susan. The Technological Muse. Katonah, NY: Katonah Museum of Art
Galerie Charles Cartwright. The Shadow of Presence: Marina Abramovic, Tishan Hsu, Franz Ehrard Walther, Franz West. Amsterdam: Libra Blu
Leigh, Christian. The Silent Baroque. Salzburg, Austria: Galerie Thaddaeus Ropac
Collins, Tricia, and Richard Milazzo. Art at the End of the Social: Rooseum. Malmö, Sweden: Rooseum Center for Contemporary Art
Collins, Tricia, Richard Milazzo, and Gary Indiana. Hybrid Neutral: Modes of Abstraction and the Social. New York: Independent Curators Incorporated
Kuspit, Donald. “Tishan Hsu.” In Locations, 27–31. Innsbruck, Austria: Tiroler Landesgalerie
Leigh, Christian. “Backward and Forward.” In Complexity and Contradiction. New York: Scott Hanson Gallery
Ross, David A., Jürgen Harten, Trevor J. Fairbrother, David Joselit, and Elisabeth Sussman. The Binational: American Art of the Late 80s, German Art of the Late 80s. Cologne, Germany: DuMont
Tishan Hsu: Paintings; MIT List Visual Arts Center, May–June 26, 1988. Essay by Dana Friis-Hansen. Cambridge, MA: MIT List Visual Arts Center
Cameron, Dan. NY Art Now: The Saatchi Collection. Milan: Giancarlo Politi Editore
Collins, Tricia, and Richard Milazzo. The Ironic Sublime. Munich: Galerie Albrecht
Fairbrother, Trevor. Tishan Hsu. New York: Leo Castelli Gallery and Pat Hearn Gallery
King, Elaine A., and Tishan Hsu. Tishan Hsu: Drawings, Paintings, and Sculpture. Pittsburgh: Carnegie Mellon University Art Gallery
Ti Shan Hsu: New Geometries, Conscious Objects and OTHER Matter. New York: Pat Hearn Gallery
Lee, Robert, and John Yau. Emily, Anna & Ti-Shan: The First Generation. New York: Asian Arts Institute