Su-ying Lee is an independent curator whose projects often take place outside of the traditional gallery platform. Lee is interested in employing the role of curator as a co-conspirator, accomplice and active agent.

She has also worked institutionally, including positions as Assistant Curator at the Museum of Contemporary Canadian Art (MOCCA) and Art Gallery of Mississauga, and Curator-in-Residence at the Justina M. Barnicke Gallery.

Recent projects include Céline Condorelli’s (UK) The Company We Keep (2013-2014) an installation at the University of Toronto’s Hart House, that addresses the historical exclusion of women both from the house, and from the discourse on friendship in philosophy and Your Disease, Our Delicacy (cuitlachoche) a year long (2012-2013) residency and garden installation at Hart House by Ron Benner (CA), that examined contentious aspects of agriculture and consumption. Both projects were presented by the Justina M. Barnicke Gallery. Lee’s Masters of Visual Studies (University of Toronto), Curatorial thesis exhibition The Good Host (2011) considered individual agency over public space through artists’ infiltrations and interventions in four public locations.Currently touring across Canada, the project Video Store, begun in 2010 (co-curated with Suzanne Carte), gives audiences unprecedented access to artists’ videos requesting only a pay-what-you-want ‘rental’ fee. In the summer of 2014 Flipping Properties, a large scale architectural installation by Jimenez Lai was installed in the alleyway behind Lee’s home as an exhibition that was publicly accessible 24hrs a day (co-curated with architect Jennifer Davis). Lee’s exhibition titled TBD (2014 Sept 6-Oct 26) at MOCCA was begun as an inquiry into the definition of a museum/contemporary art gallery. In June of 2016, her exhibition How to Make Space (co-curated with Jennifer Davis) will open in Hong Kong, presented by apexart’s Franchise program. The project examines the denial of space to women and seeks strategies to counter societal and systemic oppression with the temporary architecture built by female migrant domestic workers in Hong Kong as a point of departure.