While visiting Taipei a few weeks ago, I had the opportunity to sit down with Maggie Tsai, Director of the Fubon Art Museum—an architectural gem designed by Renzo Piano. Our meeting took place amid the bustling preparations for the museum’s latest exhibition, a striking presentation of works by Louise Bourgeois, which opened in mid-March.
Far more than a Museum Director, Maggie is a dedicated collector and art patron and has a PhD in Art Management and Cultural Policy from the National Taiwan University of Arts. Her multifaceted role in shaping Taiwan’s contemporary art scene makes her a compelling voice in today’s cultural landscape. I felt truly grateful to have the chance to talk to Maggie and pick her brain about Art, her journey as a collector, and her work as a Museum Director.
VS: Louise Bourgeois, once said « Art is a guarantee of sanity » This quote reflects her belief in the therapeutic and stabilising power of Art. For you, what is Art?
MT: For me, Art is presence. It is truth. It is a mirror and a refuge—a way of making sense of the world, and of ourselves. Art has always accompanied me through different stages of life. It sharpens my senses, steadies my thoughts, and speaks when words fall short.
I don’t see Art as something separate from daily life. It’s woven into the way I think, feel, and live. Like Bourgeois, I believe in the healing power of creation, but more than that, I believe that Art is a conversation—between the artist and the world, between the viewer and their inner self.
Art is not only beauty, or emotion—it is a quiet, unwavering strength. It
reminds us of who we are, and who we’re becoming. It’s not an escape from reality, but a path toward understanding it more deeply.
VS: How has your taste in Art evolved over the years?
MT: My taste in Art has remained remarkably consistent over the years, though I would say it has deepened rather than changed. I’ve always been drawn to works that speak to me on an instinctive, emotional level—Art that doesn’t need explanation because it immediately resonates. In that sense, my approach has always been intuitive.
What has evolved, perhaps, is my capacity to read Art more sensitively and contextually. With experience, I’ve come to better understand the layers behind a work—the historical, cultural, or conceptual frameworks that inform it. While I trust my first response to a piece, I also value the process of uncovering what lies beneath. It is a dialogue between the artwork and the viewer, and I find that incredibly rewarding.
VS: What is your favourite piece in your collection, and what makes it special to you?
MT: It’s difficult to choose a single favourite—every piece in the collection holds a special place for me. Each work is, in some way, intertwined with my own life journey, reflecting moments, emotions, or values I deeply resonate with. When collecting, I pay close attention to the artist’s intention. I’m drawn to artists whose creative drive is sincere and uncompromised—those who are not creating for market trends or external recognition, but rather from a place of inner clarity and truth. For example, our collection includes works by significant Chinese-speaking artists whose life stories often echo my own experiences. One such piece is Bon Voyage by Sanyu, which used to hang in my study for many years. Every time I saw it, it reminded me of my early days studying abroad—alone, navigating unfamiliar waters, both literally and metaphorically. That emotional connection makes the piece profoundly meaningful to me.
VS: Are there any specific artists or movements that particularly inspire your collecting journey?
MT: There are many artists who have inspired my collecting journey, but I am especially drawn to those whose works embody a sense of spiritual depth, individuality, and intuitive beauty. What speaks to me most is not style alone, but the energy and light—both literal and metaphysical—that radiates from a piece. Artists like Van Gogh, Monet, and Chagall are deeply meaningful to me. Each of them, in their own way, captured light not just as a visual element, but as a vessel for emotion, transcendence, and human experience. I find myself particularly moved by works that reveal inner illumination—where the presence of light suggests something beyond the visible. That kind of spiritual resonance, when paired with artistic honesty, is what guides and sustains my passion for collecting.
VS: Can you describe your process for acquiring a new piece? Do you attend auctions, galleries, or art fairs?
MT: Acquiring a new artwork is often a matter of timing and connection—it’s a kind of encounter that feels both intuitive and inevitable. I pay close attention to works by artists whose practice I admire, and I constantly build my knowledge through exhibitions, museum visits, and reading. But when I come across a piece that truly resonates with me, there’s often an immediate response—an emotional impulse that tells me it belongs in the collection. I engage with both the primary and secondary markets. Art fairs, galleries, and auctions are all valuable platforms, not only for acquisition but also for dialogue and discovery. That said, I believe that meaningful engagement with a work of Art doesn’t always require ownership. Sometimes, the moment of seeing—of recognising beauty and depth—is itself a form of possession. Collecting, in this sense, becomes a continuation of that first, profound encounter.
VS: What advice would you give to someone who is just starting their own art collection?
MT: The most important advice I can offer is: learn to truly see. There is no substitute for experiencing Art in person—seeing the original work, being present in the space of an exhibition, and spending time with the piece. Visit as many exhibitions as you can, look closely, and train your eye to recognise quality, depth, and authenticity. Collecting Art begins with cultivating your sensitivity to beauty, and that comes from knowing yourself, understanding others, and connecting with the inner world of the artist. There are no shortcuts—Art is not about trends or investment alone; it’s about your relationship with what you see and feel. Art that is sincere and soulful touches us deeply, and the best collections are built not with calculation but with clarity, honesty, and heart. Your collection, in the end, is a reflection of who you are.
VS: How do you integrate your art collection into your living or working space?
MT: Absolutely—Art has always been at the heart of both my personal and professional life. I intentionally place my collection in the spaces where I live and work—the lobby, the living room, the office—allowing the artworks to naturally become part of my everyday surroundings. Now that we have the museum, I look forward to sharing more of the collection with the public, along with the stories behind each piece.
To me, Art is not something to be locked away in storage. It is meant to be lived with. Art transforms the atmosphere of a space, sparks reflection, and enriches our daily sensory and emotional experiences. Being surrounded by works I love helps me stay centred, inspired, and connected. In this way, Art is not merely a decorative element—it is a dialogue, a presence, and a form of everyday aesthetics that carries warmth, meaning, and soul.
VS: The Fubon Museum officially opened its doors in May 2024, nearly a year ago. However, the Fubon Art Foundation has been in existence since 1997. What led you and the foundation & its founders to the decision to create a physical museum space?
MT: Opening a museum was never an easy path—it was, in many ways, a leap of faith. But I truly believe it was part of a greater calling. Throughout the journey, I felt a deep sense of purpose, as if I was being guided to fulfil a mission that goes beyond Art itself—a mission rooted in education, in giving back to society, and in sharing beauty with others. There were many challenges, but every step of the way felt meaningful. In hindsight, it was as though everything I had learned and experienced throughout my life—academically, professionally, and spiritually—was leading me here. Building a museum was not just about creating a space to exhibit Art; it was about answering that calling and creating a platform that could inspire, educate, and uplift. In that sense, the museum is both a culmination and a new beginning.
VS: The Museum is opening a major exhibition about Louise Bourgeois next week: Why Louise Bourgeois?
MT: Because her life story is simply extraordinary. Louise Bourgeois’s Art is inseparable from her personal journey—one marked by trauma, resilience, and transformation. This exhibition is not only about presenting her iconic works; it’s about offering visitors an emotional and even healing experience. She lived through nearly an entire century of art history—from modernism to postmodernism to contemporary Art—and continued creating for over seven decades. What moves me most is that her most monumental and widely recognised works didn’t emerge until she was in her seventies. Her most iconic piece, the spider Maman, was conceived in her nineties. In a world that often celebrates speed and youth, Bourgeois reminds us that the creative spirit knows no age. Her lifelong dedication to Art, her courage to face inner wounds through creation, and her unwavering intensity even in her later years are deeply inspiring. So really—if not Louise Bourgeois, then who?
VS: Can you share the highlights of the exhibition?
MT: This exhibition offers a deeply emotional experience—it’s not just a presentation of works, but the telling of a complete and complex life story. What makes it special is the multiplicity of media, the strong narrative thread, and the innovative spatial experience we’ve created for our visitors. You will encounter a wide range of works: from monumental sculptures to intimate installations, from soft materials to metal and glass. One of the most powerful moments is at the very beginning of the exhibition, where Crouching Spider is presented in a fully glazed pavilion—this has never been done before. It creates a poetic dialogue between the sculpture, the architecture, and the surrounding environment. Another highlight is the rare spider sculpture enclosed within a “cell” structure—the only one of its kind Bourgeois ever created. Inside it are personal objects and works on paper tied to some of her most private memories, offering an intimate glimpse into her psyche.
The architectural context of our museum, designed by Renzo Piano, plays a vital role in how the exhibition unfolds. On the third floor, his column-free space with a floating ceiling and operable skylights becomes the perfect setting for works like Clouds and Caverns, Arch of Hysteria, and Topiary IV. These pieces, bathed in natural light, create a powerful and serene conclusion to the exhibition. In fact, natural light plays a symbolic role throughout the exhibition—it marks both the beginning and the end, echoing the cyclical nature of Bourgeois’s life and creative journey.
Louise Bourgeois: I have been to hell and back. And let me tell you, it was wonderful, 15 March – 30 June 2025, Fubon Art Museum, No. 79, Songgao Rd., Xinyi Dist, Taipei City.
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