This paper examines the roles played by the National Museum Art Gallery (NMAG) and the artists involved in key events that shaped Singapore’s contemporary art, highlighting NMAG’s dual role as both part of a larger museum system and an interface within the evolving narrative of Singaporean artistic and curatorial practices. Focusing on Tang Da Wu’s interventions, “Five Days at NAFA and Five Days in Museum” (1982), “Four Days at the Museum” (1987) and “A Sculpture Seminar 1” (1991), the study highlights the intersections of publicness, artistic practice and pedagogy in these transformative moments. These events reflect NMAG’s openness as a nascent institution, fostering performative and participatory practices that challenged traditional curatorial frameworks. Tang’s “Five Days” performances were processual and pedagogical explorations, transforming the gallery space into a dynamic forum for art-making and audience engagement. “Four Days at the Museum” expanded this approach, integrating site-specificity and public interaction to reimagine the gallery as akin to William Lim’s concept of “city rooms”. “A Sculpture Seminar 1” provided a collaborative platform for critical reflection on sculptural practices, engaging with both local and global discourses in art. Drawing on archival materials and interviews, the paper situates Tang’s interventions within broader socio-political and cultural contexts. I argue that NMAG’s experimental ethos, supported by key supporters of these events, enabled Tang’s innovative practices to emerge as critical moments in Singapore’s art history. These interventions catalysed new forms of artistic production and redefined the relationship between art, audiences and institutions, highlighting the transformative capacity of museums as spaces for collaboration, dialogue and public engagement.
