The newly renovated de Young Museum reopened in the Golden Gate Park last October and has been crowded daily with art lovers young and old ever since. Martha, a passionate and astute connisseur of classical and contemporary paintings, would have undoubtedly frequented the smartly designed monument with distictly modern architecture in lush surrounding, especially given we lived a stone's throw away in the perennially fog-covered Sunset district. That the sun actually can never be found in the aptly named struggling Asian community is a stroke of genius by the city planners; the title alone drew boatloads of ignorant and barely literate immigants, including a naive Taiwan-educated engineer arriving in the Golden State with a single plaid necktie and two suitcases full of American dreams. Not that I resent the manipulation, it is here where I met and fell in love with a shy and beautiful seamtress named Martha, married and lived our young lives till she passed away. On a crisp and fresh Spring Tuesday morning, I stealthly purchase a senior ticket and slip silently inside the museum and merge into the contiguous streams of visitors, hoping that an unnoticed appearance would perhaps hide my shameful ignorance in the greater field of fine arts. Okay, it is true that I had often accompanied Martha to San Francisco Museum of Modern Art and other venues for special exhbitions, but my motivation was clearly not art itself, but the precious opporunities to walk hand-in-hand with Martha, to talk about the prices of vegetables at Huang's Market and the new movies at Ling's Theatre, and most of all, to look at Martha looking at the paintings. In front of a Bonnard or a Matisse, her eyes would fix their attention on the eclectic collection of manicured objects, a moment of tranquility would materialize magically between her and the picture, before a smile of admiration finally broke across her delighted and satisfied face. As a firsthand witness, I can testify that though personally dumbfounded by the seemingly childlike pile of dry paint on canvas, I swear that there must be absolute beauty in this fallen and unfortunate world, if my simple but loving and kindhearted woman can be moved to ecstasy in the presence of a mere painted thing. It is for this reason that I come today: to recapture a trace of ephemeral and undescribable perfection once descended upon us in distant memory -- to find a glimpse of Martha among the speechless rows of drawn figures, fruits and landscapes.
Standing in front of a formidable painting of two opulent peansant women sitting in quiet solemn conversation, I think hard about the true meaning intended by the great artist Rivera. Is it a poignant social commentary on the destituteness of rural Mexican farmers in the economically strapped southern state forgotten by the bourgeoisie, or a caricature on the emptiness and absurd of broader life, a slient echo to Munch's Scream? As I ponder the possibilities, a well groomed, petite Chinese gentle lady in her late fifties approaches me and whispers, "Perhaps Chinese can also find resonance in the hardship of peasant labor portrayed here." Slightly fluttered, I consent in politeness. If Martha were still alive, she would be around the same age. A wave of uneasiness washes over me, and I excuse myself and retreat from the meseum. I would have to find Martha another day.



