This workshop co-sponsored by Academia Sinica’s Committee for Promotion of Ming–Qing Studies and the National Palace Museum, redefined approaches to Suzhou commercial painting by moving beyond the simple dichotomy of authenticity and forgery. As the scholarly prelude to the 2018 NPM exhibition “Fineries of Forgery: ‘Suzhou Fakes’ and Their Influence in the 16th to 18th Century”—which I co-curated—the workshop convened scholars from Taiwan, the U.S., and Japan to discuss workshop practices, collaboration, canon formation, and cross-regional transmission. By highlighting the role of so-called “forgeries” as cultural mediators, it laid the groundwork for new directions in Suzhou painting studies and global art history.