Emilia Yin is the founder of Make Room, a leading Los Angeles-based gallery recognised as a vital platform for Asian diasporic artists and underrepresented voices in contemporary art. Known for its ambitious exhibitions and innovative curation, Make Room fosters cross-cultural dialogue while nurturing emerging talent. Under Emilia’s leadership, the gallery has established strong relationships with collectors and institutions, securing placements in major collections while staying deeply connected to its local community.

Portrait of Emilia Yin. Photo Courtesy: Emilia Yin and Make Room, Los Angeles.

Emilia’s work as a gallerist, curator, and collector has earned her significant recognition, including being named to Forbes’s ‘30 Under 30’—a testament to her influence and commitment to reshaping the art world. Raised in Hainan and Hong Kong before moving to Los Angeles, her cross-cultural upbringing shaped her forward-thinking approach to curation.

At 24, she founded Make Room, blending her early exposure to aesthetics with a passion for creating sustainable, inclusive artistic communities. This vision is embodied in the gallery’s ethos as a cutting-edge incubator that prioritises care, inclusivity, and a supportive environment where diverse voices thrive, and boundaries are redefined.

In this exclusive interview for MADE IN BED, Emilia reflects on her journey, the challenges of founding a gallery at a young age, her insights into Asian and Asian diasporic contemporary art, and her mission to cultivate a dynamic ecosystem for creativity and dialogue in the art world.

Alice Kim: What inspired you to establish Make Room at such a young age? Was there a defining moment that made you leap?

Emilia Yin: Make Room was born out of a simple, organic idea—I wanted to make room for myself and for the people I believed in. That’s where the name comes from and continues to reflect the gallery’s DNA.

When I was studying curatorial practice at USC, it became clear that opportunities for artists like us—Asian diasporic artists—were limited, especially on major platforms like art fairs and galleries. Many of us started with underground, guerrilla-style initiatives, but I wanted to build something that could grow from that foundation into a platform for meaningful cultural conversations.

My goal was to connect collectors with the artists I believed in, fostering personal, meaningful collections rather than market-driven ones. This mission has naturally evolved over time, but at its core, Make Room remains about creating opportunities for voices that deserve to be heard.

Exterior of Make Room. Photo Courtesy: the artist and Make Room, Los Angeles.

AK: I’d love to hear more about your background. How have these cultural experiences shaped your perspective on art, creation, and curation?

EY: Growing up in Asia, I was surrounded by perfumes and cosmetics—my parents’ industry. Their conversations about where perfumes came from, how they were made, and the creative processes behind them gave me an early introduction to aesthetics and storytelling. It planted a seed in me—a fascination with the stories behind creations and a desire to be close to makers and their craft.

At the same time, I grew up in a structured, science-focused academic environment, which trained me to think logically. But alongside that, I have always loved creative writing and storytelling. During high school in Hong Kong, I studied visual arts formally for the first time. Spending hours in the studio became a sanctuary for me, where I began to see how art could inspire and inform society, offering alternative ways of living and thinking.

This background encouraged me to take risks and pursue a path that genuinely excited me. Although I started with Studio Arts in college, I transitioned to Art History because I loved its stories, connections to people, and community. Being surrounded by artists, curators, and creators inspired me to contribute meaningfully to that world, which later led me to pursue curatorial practice in graduate school.

AK: What was your experience studying at USC like? How did it shape your artistic vision and sense of community, especially compared to your earlier experiences in Asia?

EY: USC was incredibly formative. On one hand, I was immersed in the art community, surrounded by friends who were artists and creators. On the other hand, I joined a business fraternity, Alpha Kappa Psi—a co-ed group that gave me insights into completely different industries. Balancing these two communities gave me a broader perspective on life and, later, on running a gallery.

I also spent a lot of time in the studio at USC, taking photography classes and exploring the darkroom; my professor even encouraged me to major in photography. It provided a nurturing environment where I could experiment, learn, and connect with diverse ideas—a foundation that continues to influence my work as a gallerist today.

AK: Starting a gallery at such a young age must have been daunting. What challenges did you face, and how did you overcome them?

EY: Starting a gallery at 24 was incredibly challenging. At that age, I didn’t have much experience beyond internships, where I learned how to navigate challenges and find resources independently. But stepping into the reality of running a gallery was completely different—it felt like being thrown into a battleground.

The early days were about survival—learning bookkeeping, legal frameworks, and market positioning. Now, my focus is on building long-term sustainability: fostering collector relationships that support artists’ careers over decades, expanding institutional placements, and exploring new revenue models beyond traditional sales.

Despite all of that, those early days taught me resilience and resourcefulness. It was a lot of trial and error, but I figured out how to make things work. Looking back, I’m grateful for that learning curve because it shaped how I approach everything now.

A gallery event at Make Room. Photo Courtesy: Make Room, Los Angeles.

AK: It seems like your gallery has become more than just a platform—it’s a true community. What do you think ties everyone together at Make Room, especially given the diversity of experiences within the Asian diasporic and broader artistic circles?

EY: We see things beyond limitations—that’s what connects us. When you mention Asian and Asian diasporic identities, it’s interesting because, to many in the U.S. or Europe, we’re all just “Asian.” But for me, it’s about a collective force that brings us together. Each of us brings unique perspectives from our own upbringings, yet we’re united by a common root.

It's important not to divide Asians and the Asian diaspora—it’s about working together, sharing knowledge, and seeing beyond boundaries. I firmly believe that making good decisions requires having as much information as possible, and this diversity of perspectives allows us to do that. Whether we are Chinese, Japanese, Korean, or from any other background, we can break through limits when we collaborate and combine our strengths.

It’s also important to support artists however they choose to express themselves. If an artist wants to lean into their identity, by all means, we support that. But if they're going to push beyond it, focusing on the message or essence of their practice, we’re here to support that, too. It’s about giving them the freedom to define themselves and how they’re seen.

Ultimately, it’s about working with great artists for the essence of their practice, not just their identity. That openness to challenge expectations and reimagine what art can be is what ties our community together.

A gallery team gathering. Photo Courtesy: Make Room, Los Angeles.

AK: Could you share some of the exhibitions or projects that you’re most proud of?

EY: One of the most ambitious projects we undertook last year was a collaboration with Terence Koh, an incredible artist who evolved in the New York scene in the early 2000s and now bases it in LA. For this particular project, we created a huge cave inside our gallery. A small gallery room where it's a coffee shop. Visitors could sit around a bonfire and watch Terence perform a coffee ritual. The production spanned nearly three months and was costly, but it was pivotal for the artist’s career and carried an important message: encouraging people to slow down during the fair (Los Angeles). The space invited them to come in, spend quiet time, enjoy a cup of coffee made with Terence's special ingredients, and watch. It was also a living exhibition, with plants in the cave that went through their own cycles. This kind of immersive, thought-provoking work is what we’re most proud of and hope to continue creating.

Another project I’m proud of took place during the height of COVID. We partnered with the Asia Art Center in Taiwan for a show centered on cultivating a garden—both physically and metaphorically. The concept connected to how people tended to their gardens during the lockdown, reflecting personal growth and care for one’s inner world. Artists from the U.S., Asia, and Europe came together to present work around this theme, offering a sense of hope during a difficult time.

Installation view of Terence Koh’s exhibition KOHFEE. Photo Courtesy: Make Room.

AK: What advice would you give emerging artists or students navigating new environments, perhaps far from home?

EY: First, actively build a support system. Whether financial or community-based, having a foundation that allows you to focus on your work is essential. If you don’t find a community, create one—that’s what I did, and it’s been incredibly rewarding.

Second, prioritise execution. Ideas are important, but they need action to become reality. Take the first step, even if it’s imperfect. It’s through doing that you find clarity and momentum.

AK: Finally, let’s touch briefly on the vision for the future of Make Room. How do you see the gallery evolving and leaving a lasting impact? And how do you see the growing momentum of Asian diasporic art fitting into the broader contemporary art discourse?

EY: This is just the beginning of the momentum surrounding Asian diasporic art. For any movement to sustain itself, it requires collective effort—a ‘village,’ so to speak. The art market often creates hype around trends, consuming them intensely before moving on. The challenge for us is to keep the momentum going.

We are already seeing major institutions and collectors take note of the Asian diasporic movement, and my focus is on solidifying that shift through sustained engagement—whether through institutional acquisitions, academic partnerships, or developing new markets for these artists. It’s about cultivating a space where artists can grow, audiences can learn, and communities can connect. We want to bridge gaps between artists, collectors, and institutions, ensuring this is more than a fleeting moment but rather a sustained shift in the art world.

Make Room isn’t just a gallery—it’s an incubator for artistic innovation and a catalyst for industry-wide shifts. We’re actively shaping institutional narratives, forging new collecting trends, and ensuring that artists we work with don’t just participate in the art world, but actively redefine it.

Exterior of Make Room. Photo Courtesy: Make Room, Los Angeles.

Speaking with Emilia felt like stepping into a garden—one where every plant grows in its own direction but shares roots in the same nourishing soil. Through Make Room, Emilia has cultivated more than just a gallery; she has nurtured a living ecosystem where voices from the Asian diaspora flourish and thrive.

Her work reminds us that meaningful change requires patience, care, and a commitment to growth—not just for oneself but for an entire community. It is indeed a collective effort, and her work continues to inspire others to carry that vision forward.

Many thanks to Emilia Yin on behalf of MADE IN BED.

During the 2025 Los Angeles Frieze Art Week, Make Room will present an all-female lineup featuring Shana Hoehn and Camilla Engström at their Hollywood space and Xin Liu’s solo presentation, “The Theater of Metamorphoses,” at Frieze Los Angeles (Booth F04, February 20–23).

Make Room continues its mission of supporting female artists, showcasing Hoehn and Engström’s explorations of identity and transformation, while Liu’s installation examines the intersection of technology and human existence.