S. Alice Mong (Moderator) is President of Asia Society Hong Kong Center (ASHK), an independent non-governmental educational organization established in 1990. Ms. Mong previously served as the Executive Director of ASHK from August 2012 until 2024, and as a consultant to ASHK in preparation for the February 2012 opening of its permanent home at the Former Explosives Magazine in Admiralty. Prior to ASHK, Ms. Mong worked in New York for almost a decade in the non-profit sector in senior management positions. She was the Director of the Museum of Chinese in America (MOCA) from 2009 to 2011, overseeing the expansion project of the 30-year-old organization. She stepped down as Museum Director in July 2011 after successfully transforming the museum from a New York Chinatown institution into a leading national museum dedicated to preserving and presenting the history, heritage, culture and diverse experiences of people of Chinese descent in the United States. Ms. Mong also served as the Executive Director for the Committee of 100 in the United States, a Chinese-American non-profit membership organization founded by architect I.M. Pei and cellist Yo-Yo Ma. She began her career at the Ohio Department of Development in Ohio, and later became Managing Director of the Ohio Office of East and Southeast Asia in Hong Kong. Ms. Mong worked for Hang Lung Property Group from 1995 to 2002. She serves as a Member of the Board of Directors of The Ohio State University Alumni Association.

Eric Lefebvre is the director of the Musée Cernuschi - Asian Art Museum of the city of Paris.

He holds a Ph.D. in art history from the Sorbonne University. His area of research is the history of Chinese art collections in pre-modern China, and the Chinese artistic presence in France in the 20th and 21st century.

Eric Lefebvre has curated several exhibitions on modern Chinese painting, including Chinese Artists in Paris, from Lin Fengmian to Zao Wou-ki (Paris, 2011), The Shanghai School (1840-1920) Paintings and Calligraphy of the Shanghai Museum (Paris, 2013), Paris-Chinese Painting, Legacy of 20th Century Chinese Masters (Hong Kong, 2014), Walasse Ting - the flower thief (Paris, 2016), Song of Spring, Pan Yuliang in Paris (Hong Kong, 2018), Ink in Motion, A History of Chinese Painting in the 20th Century (Paris, 2022), The Journey of Ink, Chinese Modern and Contemporary Paintings from the Musée Cernuschi (Shanghai, 2024)

Jiang Mei was born in Yixing, Jiangsu Province, China, and graduated from Nanjing University of the Arts in 1996 with a master's degree in Fine Arts. She has worked at Shanghai Art Museum, China Art Museum Shanghai, and Shanghai Oil Painting & Sculpture Institute. She is currently the Director of Shanghai Oil Painting & Sculpture Institute.

Jiang Mei has been engaged in curatorial practice and academic research for many years, focusing on modern and contemporary Chinese art especially women's art. Over the years, she has curated and organized numerous influential art exhibitions both domestically and internationally, including Realm of Flow and Variation: Invited Painting Exhibition of Contemporary Female Artists from the Yangtze River Delta (Shanghai, 2022), WE: Exhibition of Shanghai Female Artists 2018 (Shanghai, 2018) and so on.

Valerie Conghui Wang is the Director of Bao Foundation and the Director of Zhi Art Museum, specializing in global curatorial practices in Eastern aesthetics and Asian art. She holds a Master's Degree in Aesthetics from the Philosophy Department of Peking University. She was a senior reporter at China Central Television, a specialist at Sotheby's and Christie's, and then the founding Director of Zhi Art Museum. Through case studies and retrospective exhibitions, she explores the global impact of Asian art. She has curated important exhibitions such as 'Fantasy' Luis Chan: A Retrospective Exhibition (2018), Wei Ligang: Universality (2019), and The Art of Escape: Gao Yu (2023), as well as initiated the Open East: Asia Museum Forum (2019) to advance the re-narration of Asian art within the international context.

For Objects of Play: Hoo Mojong Centennial Retrospective, she aims to expand the global visibility of Asian women artists and reconsider their position in international modernism.