Wenda Gu (Chinese, b.1955) is one of the most celebrated avant-garde artists who emerged from China in the late 1980s. He studied traditional Chinese landscape painting under master Lu Yanshao (1909–1993) at China Academy of Arts, and taught there after his graduation in 1981. Embracing the Western New Wave and avant-garde movements, Wenda felt they could lead to the creation of specifically-Chinese avant-garde art. In 1984, his early series Lost Dynasties astonished the traditional Chinese art community when they were exhibited at the Neo-Ink Painting Invitational of China. Later, Wenda developed a bibliography of invented Chinese characters by deconstructing the existing ones, and then misplacing the various parts to create new and meaningless words. This series of works on paper and installations, Pseudo, was to be presented to the public in Wenda’s first solo exhibition in 1986, but it was closed down by the government just before the opening. Nevertheless, these early experiments are regarded as the beginning of Conceptual Ink Art in China, and the artist was acclaimed by the renowned art historian Dr. Peter Selz, as arguably the most original and authentic artist to emerge in China since the revolution.” In 1987, Wenda moved to the United States and changed his medium to materials related to human body, with the intention of celebrating the physical origins of life, and to promote universal accord. His 1989 solo exhibition Oedipus Refound, showing an installation of tampons and sanitary napkins from 60 women from various countries, caused public outrage. Another installation series, United Nations, producing works from human hair he had collected from more than one million people from all over the world, appeared on the cover of Art US, making Wenda the first Chinese artist to be featured in this magazine. He now lives and works in New York.