PRINT January 2020



Huang Yong Ping, 2012.

I MET HUANG YONG PING for the first time over lunch in Guangzhou one Saturday in October 2002. He arrived fresh from the emergency room, having cut his hand that morning while collaborating with a crew of metalworkers on his Bat Project II, a 1:1 facsimile of the cockpit and left wing of a US Navy surveillance plane that had unexpectedly landed on the island of Hainan after colliding with a Chinese fighter jet nineteen months earlier. The plane was to sit on the plaza in front of the Guangdong Museum of Art, part of the first edition of the Guangzhou Triennial. Huang had injured himself in vain: Hours before the opening, his plane would be sliced up and hauled away, the provincial authorities having been tipped off by French and American consular officials about the meaning of the work. 

This was the window between 9/11 and the invasion of Iraq, shortly after China’s entry into

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