Nicole graduated from UCL in Classics and read for an MSc in Visual, Material, and Museum Anthropology at Oxford and was selected to be a Schwarzman Scholar at Tsinghua University in Beijing. Her broad arts experience includes working at Sotheby’s and Cambridge’s Fitzwilliam Museum and writing for ArtAsiaPacific. She has worked as the International Communications Officer for the Long Museum, home to China’s largest private collection. Nicole is passionate about unlocking the potential of private museums in China. An advocate for stronger arts curricula in the Chinese education system, she hopes that Museum 2050 will initiate more fluid conversation between international art institutions and China.

Director of Media Strategy and Communications

Aishan Zhang is an independent curator who has worked internationally at the intersections of curation, arts administration, and communication strategy for non-profit organizations and auction houses, including The Art Institute of Chicago, Museum of Contemporary Art Chicago, Long Museum and Sotheby’s. Zhang holds a BA in Art History from the School of the Art Institute of Chicago. Her research areas include Chinese contemporary art and media studies–with a particular focus on the boom of virtual art museums and its effect on art. She is passionate about bridging art and technology to expand accessibility, foster learning, and bring people together.

Carol Yinghua Lu is an art critic and curator. She is currently PhD scholar of art history at the University of Melbourne and is director to the Beijing Inside-Out Art Museum. She is the contributing editor for Frieze and is on the advisory board for the Exhibitionist. Lu was on the jury for the Golden Lion Award at the 2011 Venice Biennale and on the jury for the Filipino National Pavilion of 2018 Venice Biennale of Architecture. She was the co-artistic director of the 2012 Gwangju Biennale and co-curator of the 7th Shenzhen Sculpture Biennale in 2012. From 2012 to 2015, she was the artistic director and chief curator of OCAT Shenzhen. She was the first visiting fellow in the Asia-Pacific Fellowship program at the Tate Research Centre in 2013 and was one of the first four ARIAH (Association of Research Institute in Art History) East Asia Fellows in 2017.

Wenny Teo (张温惠) received a BA in History of Art and English Literature from the University of York (2003), and a MA (2004) and PhD (2011) in History of Art from University College London. Her doctoral thesis, ‘One World, One Dream: Contemporary Chinese Art and Spectacle’, supervised by Professor Briony Fer, examined the highly ambivalent relationship between contemporary Chinese art and spectacle from China’s ‘open door’ reforms in 1978 to the historical watershed of the 2008 Olympic Games in Beijing. Her research currently centers on socially engaged and participatory East and Southeast Asian art, subversive practices, geopolitics, language art and online visual culture.

Prior to joining The Courtauld as the Manuela and Iwan Wirth Lecturer in Modern and Contemporary Asian Art in 2012, she worked as a curator at the Museum of Contemporary Art, Shanghai, and as curatorial assistant at Tate Modern. In 2014, she was an associate curator of We Have Never Participated: The 8th Shenzhen Sculpture Bienniale and in 2016 she co-curated, A Beautiful Disorder: Contemporary Chinese Art at the Cass Sculpture Foundation in Chichester, UK.