From Beijing to Bavaria to Christie’s, Wang embodies a new era of confidence, composure, and cultural fluency — a shift The Art Daddy explores with her in conversation for Elephant.
The contemporary art world loves a spectacle and few places stage it better than the auction house. Beneath the champagne and paddle-waving lies a choreography of money, muscle, and myth-making. Millions move in minutes. Provenance turns into performance. A single raised eyebrow can shift the fate of an artist’s market. And at the center of it all stands the auctioneer, part performer, part strategist, part economist with nerves of steel. Historically, that conductor has been male, white, and British.
Enter Yü-Ge Wang, Associate Director and Senior Client Advisor at Christie’s, who’s rewriting that narrative one gavel strike at a time.When Wang took the rostrum at Christie’s last May for the New York 21st Century Evening Sale, she didn’t just hold the room: she owned it. The sale became her breakout moment: a masterclass in precision, poise, and charisma under pressure. With her calm authority, razor-sharp timing, and composure that could silence a room full of billionaires, Wang proved she’s not just part of the machinery, she’s redefining how it runs.
Born in Beijing and raised in Bavaria, Wang carries a dual fluency that sets her apart: German precision meets Chinese grace. Her path has been anything but inherited: no family fortune, no old-school connections, no inherited Rolodex. What she built, she built herself: through quiet persistence, years of training, and an unwavering belief that command doesn’t have to mean conformity.
Now, more than a decade into her tenure at one of the most powerful auction houses in the world, Wang stands as one of the few women and even fewer Asian women, to command a major international sale. She has since overseen headline auctions including Vivienne Westwood: The Personal Collection, continuing to expand what authority, taste, and visibility look like at the top of the art market.
This fall, the art world is watching closely, waiting for Wang to take the stage once again, and hoping to see her back in the mix during the November sales. Because when she steps up to the podium, it’s not just the gavel that hits differently, it’s the future.
Art Daddy × Elephant caught up with Yü-Ge Wang via email to talk about confidence, composure, and commanding a room full of money — and how she’s quietly transforming the auction world, one lot at a time.
Art Daddy/Elephant: Last May really put you on the map as a formidable presence among international auctioneers. How did it feel to receive that kind of recognition from the broader art world?
Yü-Ge Wang: It’s great to see how much the Art Market has changed, with such a broad acceptance of diversity. I’ve received overwhelming positive feedback which gives me courage to become better as an auctioneer each time. Recognition in this field has been the result of years of quiet persistence — building trust, honing intuition, and finding my own rhythm.
Born in Beijing, China, moving to Germany in the 80s when I was 2 years old and growing up under very humble circumstances in a small village in Bavaria as the daughter of Chinese immigrants, I never imagined standing on an international auction podium commanding sales of that scale.
A decade of dedication and preparation to become an auctioneer paid off (starting with a “Auctioneering for Non-Auctioneers” experience for Christie’s Staff members in 2015, which got me hooked on pursuing auctioneering).
To be given the chance to take major auctions like the New York 21st Evening Sale, which comes with huge responsibility, does not come easy and requires major support internally in the company who believe in the auctioneer’s skills to make the auction a success for the consignors and the company.
What meant the most wasn’t the spotlight itself, but what it represented: the culmination of countless small moments of resilience and self-belief.
It is proof there’s space for different voices, accents and perspectives in places of cultural power.
AD: The auction world has long been male-dominated, particularly at the highest levels. What has been one of the most challenging aspects of navigating that space as a woman?
YW: Earning authority has been the greatest challenge. My personal challenge was not the thought of being a woman, but more of being Asian – I’ve seen female auctioneers before however hadn’t seen an Asian auctioneer taking auctions outside APAC.
As a woman — and especially as an Asian woman with a very strict and disciplined upbringing (Asian upbringing very much discourages bringing attention to oneself) — I had to find a way to project confidence and presence without losing authenticity.
Growing up in Germany taught me to be goal oriented, conscientious, efficient, effective and to have good reasoning for everything I do, which helped me focus and pursue the dream of becoming an auctioneer. Meanwhile the Chinese upbringing taught me to get on with things, be self-critical, channelling it to become better in what I do. Growing up as a woman in a Chinese family in Germany, came with a lot of societal pressure and expectations in terms of “What a woman should be like / should do / should act like / should not do”, which was challenging to balance, choosing to pursue a path of individualism while still showing respect to tradition.
The biggest shift for me has been learning to take up space – unapologetically – gaining confidence in making split-second decisions on the rostrum, understanding that leadership doesn’t have to conform to a masculine model. The auction world values showmanship, and I learned to build my own style of show(wo)manship through patience, precision, kindness, curiosity and composure.
I came to see that my difference was also my strength — that bringing another energy to the podium – with a slight accent, German precision and authority combined with Asian elegance – could be just as powerful. There were and still are uncountable moments of self-doubt (and I think in general women are more prone to self-doubt) but along the way I have learned to cope with it better.
AD: What’s one aspect of being an auctioneer-or one thing about you personally-that might surprise people outside the industry?
YW: The performance element on the rostrum is real, but it’s also meticulously crafted — every gesture, pause, and word is intentional. I’m actually quite introverted privately. I draw a lot of energy from observation and quiet preparation.
AD: What’s one piece of advice you wish you had known before entering the art world, and how might it have shaped your early career differently?
YW: Honestly, I’m actually glad I didn’t receive any advice before entering the art world. I had no idea how complex or competitive this industry could be — and in a way, that naïveté protected me. If I had known just how tough it would be to navigate I might have talked myself out of even trying.
I grew up in a village in Bavaria with Chinese immigrant parents who grew up during the Cultural Revolution – there was no one who could have given me any advice to prepare me for what was to come for me in the international Art World.
I’m grateful I went in without a roadmap; it allowed me to forge my own path with sheer stubborn will power (and of course a good portion of luck), and in doing so, every little success means so much more to me.
I fell in love with this crazy, unpredictable, but wonderful art world.
AD: Your role bridges performance, scholarship, and sales in such a unique way. How do you prepare mentally and emotionally-for a major evening sale?
YW: I think my German and Chinese heritage trained me to always be as well prepared as possible. “Winging” things it’s not my choice of path if at all avoidable.
Due to the nature of Live Auctions, one can’t always prepare for every situation of course. Having taken many sales across different countries and sale categories, with different audiences, I know by now I’m capable of holding an auction – that confidence is worth a lot and only comes with experience.
I prepare every lot in detail – make sure I know what I am selling, I speak to the specialists to learn more about the pieces if it’s a category I am less familiar with, I make sure I know how to pronounce each lot/Artist name/title description and make sure I have seen the lots in person multiple times in person. I read a lot of essays and do my best to familiarise myself with the piece and the context as much as possible.
I plan how to announce/start the bidding / adjust the rhythm in the way I feel it would encourage bidding the most, depending on the Lot I make sure I familiarise myself with the auction room and get a good understanding of the space and layout.
Making sure I prepare an outfit which I’m 100% comfortable to move in, and one which gives me confidence is important too. If I am well prepared, I automatically feel mentally and emotionally calm. I like to spend time alone the evening before the major auction as well as the moments leading up to me entering the rostrum. It makes me feel focussed and calm.
AD: Christie’s is steeped in tradition, but the art world is constantly evolving. How do you balance respect for that history with the push toward innovation and inclusivity?
YW: I’ve always felt that tradition and innovation don’t have to be opposites — they can coexist beautifully when approached with respect and intention.
Balancing the two means honouring the values that built this institution — expertise, trust, connoisseurship — while also challenging what those ideas look like in a more global, diverse context. For me, innovation isn’t just about technology or new markets; it’s about redefining who gets to participate in the art conversation and whose stories are told.
It’s important to make the art world more accessible — not just for audiences and collectors, but also for the people working within it. One of the ways I try to do that is by mentoring younger colleagues from different backgrounds, encouraging them to bring their full selves into this space rather than trying to fit a mould.
On the rostrum, I see tradition and inclusivity meet in real time. The auction format is one of the most traditional structures in the art world, yet the buyers and sellers are now more global and diverse than ever — from first-generation collectors in Asia and Africa to new tech entrepreneurs in Europe and the U.S. That diversity challenges us to speak more languages, both literally and culturally, to communicate expertise in ways that are inviting rather than exclusive.
The auction format, replete with suspense, has remained compelling for so very long for good reason – offering theatre as well as commerce. How we enable individuals to engage with this is the key, whether via livestreaming of the sales, bidding online or over the phones. Innovation has allowed for democratisation, allowing the auction room to take on an increasingly global reach, and this inclusivity wherever our clients may be in the world, while still maintaining the magic of the auction itself, is key. The manifestation of auction with both the physical and digital removes logistical barriers – this doesn’t come with a replacement of tradition, rather an evolution of the experience, ownership and value. The gavel still falls, however, to a wider audience, as we actively seek to expand the collector base beyond traditional circles, and in some instances with diverse artists who speak to this new collector base…Ultimately, balancing history and change means carrying forward the best of what Christie’s stands for while allowing it to evolve in step with the world around us. Tradition gives structure; innovation gives purpose and opportunity. The art world is at its most exciting when those are in conversation.
AD: As someone with a background in both the East and West, how do you think your perspective informs your approach to art, collecting, and global markets?
YW: Having grown up straddling two very distinct cultures—Chinese and German—and later establishing myself in London, I’ve learned to see art through a truly global lens. From the Chinese perspective, there’s a deep respect for tradition, craftsmanship, and the role of art in reflecting philosophical or spiritual values. At the same time, in the West, particularly in Europe and London, there’s a focus on innovation, self-expression, and the market-driven nature of art, where provenance and rarity often define value.
When it comes to the art market, I’m constantly aware of how cultural preferences and historical contexts shape the way people collect.
Collectors’ demography is changing, collecting preferences and approaches are changing – a multicultural upbringing helps me to observe, understand and forecast potential trends, react and adapt.
Ultimately, my background has shaped me into someone who sees art not as isolated from its context, but as an interconnected force that transcends borders—whether cultural, political, or economic. In today’s globalized world, understanding the nuances of both Eastern and Western art markets is key to navigating them successfully and creating meaningful connections between artists, collectors, and the broader art community.
A background of East and West also helps me to bring in a unique sensitivity and approach to auctioneering: in my opinion Auctioneering is less about showmanship and more about emotional intelligence — reading a room, sensing hesitation, and understanding unspoken cues between bidders.
I think that sensitivity comes from my upbringing — growing up between cultures taught me to observe and listen deeply and interpret the smallest nuance, and that skill has served me far more than any “auctioneering bravado.”
So while people might see the drama of the sale, what they don’t see is the quiet discipline, empathy, and split second intuition that make it all work and can make a huge difference to the outcome of each sale.
AD: What do you see as the most exciting change happening in the art world right now-and where do you see your role within that shifting landscape?
YW: The art world is becoming more globally interconnected, with new markets emerging in Asia, the Middle East, and Africa. This shift is diversifying the kind of art that’s being showcased and collected, offering artists more platforms and audiences.
There’s a growing interest for greater representation of under-represented artists, something which is changing the dialogue within both the art market and curatorial spaces.
Sustainability is becoming an increasingly important topic, with more artists and institutions considering the environmental impact of their practices, shaping the materials and methods used in creating and exhibiting art and how international auction houses like Christie’s are run.
My role in the shifting landscape can be divided into three components;
As a millennial – I find myself at the crossroads of the traditional and the contemporary. I’m representing a bridge between the “traditional” Art Market players and the new, which allows me to navigate and connect these two worlds, integrating innovation with the proven values that have long defined the art market.
As a female auctioneer, I’m proud to represent the growing shift toward a more gender-equal industry. This change not only offers greater opportunities for women but also reflects the evolving, more inclusive nature of the art world as a whole. I see myself as both a participant in and advocate for this transformation.
Growing up as a Chinese immigrant in Germany and now living and working in the UK, I represent the increasing globalization of the art market. My experience is reflective of the international nature of art today, where borders are increasingly fluid, and diverse cultural backgrounds are not only accepted but celebrated, connecting artists, collectors, and markets across different continents, understanding both Eastern and Western perspectives.
