TAICHUNG, Taiwan — Dangling in the soaring, light-bathed atrium of the new Taichung Art Museum is a 24-meter-tall “tree,” improbably hanging upside down. Trees, of course, are meant to root themselves in the earth. But in artist Haegue Yang’s vision, gravity is quietly overturned. The result is “Liquid Votive — Tree Shade Triad,” a floating form in which deep green venetian blinds become branches and leaves, while LED tubes coil around it like the straw garlands tied around divine trees in Korean shamanism. At night, lights flicker and dart across its surface like fireflies in the forest. Using industrial materials, Yang reimagines sacred trees, long revered as communal guardians across Asia, placing them in a new context and form. “Liquid Votive” is her tallest installation to date, its scale unmistakable as the inverted tree never leaves visitors’ sight as they climb the building’s spiraling six-story ramp. The piece is part of the Taichung Art Museum’s inaugural site-specific commission, serving as its symbolic face for the next two years. “Because the work is