In The Many Names of Anonymity: Portraitists of the Canton Trade, Winnie Wong explores the lives and works of anonymous artists who created portraiture for foreign clients during the Qing dynasty. By focusing on figures like Chit Qua, Chin Qua, and Ting Qua, she uncovers a rich tapestry of artistic innovation that challenges our conventional naming practices.

Wong argues that the rigid frameworks of art museums and taxonomic classifications can constrain our understanding of artists. She suggests we consider 'Canton trade painting' as an alternative to the problematic term 'Asian export art,' which often perpetuates harmful stereotypes about Chinese artisans.

The book delves into the complexities of these artists’ identities, highlighting their prolific output and the unique visual techniques they employed, such as reverse paintings on glass and vivid full-body portraits. Wong’s forensic analysis of archival materials provides a nuanced view of these artists' lives within both Western and Chinese contexts, revealing the unreliable nature of historical records.

By questioning our reliance on names to attribute creative agency, Wong encourages us to explore alternative narratives that better reflect the fluidity of artistic practice during this transformative period. Her work challenges not only historians but also contemporary curators and museum-goers to rethink how they present and interpret art from diverse cultural backgrounds.