If you were to imagine that Su-Mei Tse, with each work that she creates, was writing a text, this text would be a philosophical poem—one whose aesthetics and allusions would have the same originality that has characterized her oeuvre since the very beginning: this subtle balance between memory and the present moment, between Asia in the East and the history of European art in the West, between music, object and image, between language and perception. Each piece would be equivalent to a word. Some words would be written out in full and others with only their initials, some in CAPITALS, others in italics, while some, taking on a much more important role, would be found in footnotes, or in parentheses. But there are also words that would recur over and over again, expressing a meaning that deepens as the text progresses. Extending this thought experiment, you could say that each of her solo exhibitions constitutes a paragraph, part of a whole, inscribed in a continuity that corresponds—at the time it is written—to the artist’s research in that present moment, to the Jetzt=Jetzt (Now=Now) of her current preoccupations, to borrow the title from one of her works (which in this imaginary game would be) written in capital letters.