Yann Hendgen is the art director of the Zao Wou-Ki Foundation. A graduate of the second cycle of museology from the École du Louvre and a holder of a master’s degree in art history and archaeology, he began collaborating with Zao Wou-Ki and Françoise Marquet-Zao in 2002. The Zao Wou-Ki Foundation, established in 2012, is the official entity specialising in the work of Zao Wou-Ki. Hendgen is responsible, in coordination with Françoise Marquet-Zao, for the sustainability, recognition, and dissemination of the artist’s work through editorial projects, exhibitions, authentication of works, and market surveillance.

Ankeney Weitz is the Ziskind Professor of East Asian Studies at Colby College in the United States. Her scholarship has included work on the history of art collecting in China; painting as sartorial adornment from the Song to Ming dynasties (10th–17th centuries); and, most recently, the life and aesthetics of the Chinese-French painter Zao Wou-Ki. She helped curate the first major museum exhibition of Zao Wou-Ki’s work in the US (Asia Society, New York City, and Colby College Museum of Art, Waterville, 2016–2017) and is currently at work on a book about Zao Wou-Ki’s aesthetic theory as articulated during his 1985 painting workshop at the Fine Arts Academy in Hangzhou, China.

Wu Mo is Sigg Curator, Visual Art at M+. She received her PhD in History of Chinese Art from the Chinese University of Hong Kong. At M+, she co-curated M+ Sigg Collection: Inner Worlds (2025), M+ Sigg Collection: Another Story (2023), and Madame Song: Pioneering Art and Fashion in China (2023). Her essays have been widely published in periodicals, catalogues, and various art publications, including the Journal of Contemporary Chinese Art, The Art Newspaper China, LEAP, Artforum China, Yishu: Journal of Contemporary Chinese Art, and Randian.