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-**Alice, Nien-Pu Ko**, who lives and works both in Taipei and New York, is a curator and writer on contemporary art, film, video, sound, and interdisciplinary projects. Her projects focused on how art creates a space of mediation re-evaluating different histories and contouring modes of perception through alternative aesthetic forms. At Kaohsiung Museum of Fine Arts, she was the co-curator of the retrospectives _Tony Oursler: Black Box_ (2021), _Pan Austro-Nesian Arts Festival_ (2021), and the curator of _Tomb of the Soul, Temple, Machine and the Self_ (2018) which was nominated for the 17th Taishin Arts Award, Taiwan. She was also involved in the curatorial team touring _SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now_, organized by Mori Art Museum in collaboration with Kaohsiung Museum of Fine Arts in 2019.
+**Alice, Nien-Pu Ko** is a curator and writer on contemporary art, film, video, sound, and interdisciplinary projects. Her projects focused on how art creates a space of mediation re-evaluating different histories and contouring modes of perception through alternative aesthetic forms. At Kaohsiung Museum of Fine Arts, she was the co-curator of the retrospectives _Tony Oursler: Black Box_ (2021), _Pan Austro-Nesian Arts Festival_ (2021), and the curator of _Tomb of the Soul, Temple, Machine and the Self_ (2018) which was nominated for the 17th Taishin Arts Award, Taiwan. She was also involved in the curatorial team touring _SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now_, organized by Mori Art Museum in collaboration with Kaohsiung Museum of Fine Arts in 2019.
 
 Previously, she worked with major art institutions and museums such as Taiwan National Art Foundation, Taipei; Tokyo Wonder Site, Tokyo; Bengal Foundation, Dhaka; Hong Kong Bi-City Biennale of Urbanism \ Architecture, Hong Kong; Hong-gah Museum, Taipei, among others. Her selected curatorial exhibitions include _Flags, Transnational – Migrants and Outlaw Territories_ (Tokyo Wonder Site, 2016), _Beyond the Borderline – Exiles from the Native Land_ (Howl Art Space, 2015), and _Reverse Niche – Dialogue and Rebuilding at the City_’_s Edge_ (Hong-gah Museum, 2013).