In this paper I reflect on the experience of working with Taiwanese art educators. The data I revisit comes from participation in four art education conferences between 1995 and 2001, a three-month period of residence at Changhua University of Education teaching a master's programme, three intensive summer programmes organised for Taiwanese art teachers in London and doctoral supervision. In these reflections I consider what these experiences have taught me about multicultural art education and pedagogy in Taiwan, their key characteristic and some East-West differences. I conclude that multicultural art education reform in Taiwan is distinctive in the way it engages both with homeland studies and global visual culture. The absence of national sovereignty means that Taiwanese art teachers are ideally placed to experiment with post-modern developments in art curriculum practice. (Contains 13 notes.)