1. “Scenes of the Buddha in Early China,” China Institute, New York, NY, 1979.
2. “The Erotic Symbolism of Ku Hungchung’s The Night Revels of Minister Han,” China Institute, New York, NY, 1980.
3. “Bird Symbolism in Far Eastern Art,” Audubon Society, NY, NY 1981.
4. “Foreigners in Tang Art,” College Art Association, Annual Meeting, New York, NY, February 1982.
5. “The Illustration of the Sutra of Cause and Effect (Ingakyo) in China,” CHISAAN, 32nd International Congress, Kyoto, Japan, August 1983.
6. “Taoist Iconography on Mortuary Art of the Sixth Century in China,” Sixth International Symposium of Asian Scholars, Hong Kong, July 1984.
7. “Western Influences in Gandharan Art, a New Approach,” East and West, Seoul, Korea, August 1985.
8. “Chinoiserie in French and English Gardens and Architecture,” East Meets West: Symposium, Albert Knox Gallery, Buffalo, NY, April 1986.
9. “New Archaeological Evidence in Pakistan: The Stupa,” Eighth International Symposium of Asian Scholars, Hong Kong, July 1986.
10. “Scenes of the Mahaparinirvana at Dunhuang, Gansu,” ICANAS, 33rd International Congress, Hamburg, Germany, August 1986.
11. “Buddhist Mortuary Art,” Conference on Asian Studies, State University of Brockport, NY, October 1987.
12. “A Tang Buddhist Scene of the Assumption of the Soul,” Tenth International Symposium of Asian Scholars, Hong Kong, July 1988.
13. “The Symbolic Content of Scenes of Hunting in a Landscape in Northern Wei Art,” New York Conference on Asian Studies, New York State University, Albany, NY, October 1988.
14. “Post-Enlightenment Miracles Performed by the Buddha, Texts and Illustration,” Symposium, College Art Association, San Francisco, February 1989.
15. “Some Cosmological Schemes in the Early Caves at Dunhuang,” College Art Association, NY, February 1990.
16. “The First Sermon of the Buddha in the Texts and Illustrations,” ICANAS 34rd Congres International des Etudes Asiatiques et Nord-africaines, Toronto, August 1990.
17. “The Early Wei Caves at Dunhuang, A Reconsideration of the Square Pillar,” Second International Conference on Buddhist Art, Dunhuang Research Institute, Dunhuang, China, October 1990.
18. “The First Sermon and the Formation of the Sangha,” ACASAA Meeting, Freer Gallery, Washington, DC, April 1991.
19. “The Tang International Style and the Treasures of Famen Temple, Xian,” Mid Atlantic Association of Asian Studies, Pennsylvania, October 1992.
20. “Woman and Early Buddhism, A Study in Misogyny,” ICANAS 35th Congres International des Etudes Asiatiques et Nord-africaines, Hong Kong, August 1993.
21. “New Archaeological Evidence of Tang Esoteric Art,” Association of Asian Studies, March 1994.
22. “Divine Water and the Paradise of Amitofu,” Third International Congress on Buddhist Art, Dunhuang Research Institute, Dunhuang, China, August 1994.
23. “Western Origins of the Paradise of Amitofu,” A Symposium on Paradise Representations in East Asian Art, Harvard University, October 1995.
24. “Women in the Tang,” College Art Association, NY, February 1997.
25. “Scenes of the Life of the Buddha from the Peacock Cave-temples of Qizil (Xinjiang) and Their Western Counterparts,” ICANAS 36th Congres International des Etudes Asiatiques et Nord-africaines, Budapest Hungary, August 1997.
26. “Chinese Contemporary Art and the Literati Culture,” Lehman College Art Gallery, NY, and Fall 1998.
27. “Early Esoteric Images of Guanyin in China,” Association for Asian Studies, Washington, DC, March 1998.
28. “Early Archaeological Evidence of Western Influence in Medieval China,” New Research In Asian Art, New York Conference on Asian Studies, Association of Asian Studies, New Paltz, NY, October 1998.
29. “Contemporary Chinese Art and the Artistic Uses of Calligraphy”, College Art Association, NY, February 2000.
30. James Kuo, “ A Modern Artist Who Forged a Bridge between Two Cultures”, China Institute, June, 2000.
31. “The Presence of the Goddess Anahita and Cosmological Symbols Associated with the Goddess on Western Decorative Arts Excavated in Early Medieval China,” Between Han and Tang, Beijing University, July 2000.
32. “Scenes of the Parinirvana in the Cave-temples of Qizil in Quca, Xinjiang and their relationship to those at Dunhuang, Gansu.” Dunhuang Research Institute, Gansu Province, China, August 2000.
33. “Western Origins of the Scenes of the Death of the Buddha,” ICANAS 37th Congres International des Etudes Asiatiques et Nord-africaines ,Montreal , August 2000.
34. “Tang Woman in Chinese Art and Culture,” Texas Tech University, Lubbock Texas, November 2000.
35. “Millennialism at the Northern Wei Caves in Gansu, China” Asian Studies Conference, Sophia University, Tokyo, June 2001.
36. “The Buddhas of the Past and Future at the Northern Wei Caves in Qingzhou, Eastern Gansu, China,” 2nd International Convention of Asian Scholars, Freie Universität, Berlin, August 2001.
37. “Writing in Chinese Contemporary Art”, Contemporary Chinese Arts in the International Arena, British Museum, April 2002.
38. Emerging Artists: Betty Yaqin Chou” The Players: Asian American Art , NYU, June 2002.
39. “Daoist Imagery on Medieval Funerary Objects,” Daoism and Art II Conference, Boston University, June 2003.
40. “Empress Wu and Buddhist art of Guangyuan, Sichuan,” Third International Asian Scholars Conference, Singapore, August,2003
41. “East West Transmission of the Greek Long-necked Wine Vessel with Handle Over the Centuries,” Society for Indian Philosophy and Religion, Calcutta, January 2004.
42. “Daoist Imagery on a Group of Northern Wei Stone Sarcophagi from Luoyang,” Daoism in the Modern World, Sichuan University, June 2004.
43. “The Huayenjing and Empress Wu at Longmen,” Longmen Cave Symposium , Henan Province, August , 2004
44. “The Evolution of the Many Forms of Guanyin in India and their Counterparts at Dunhuang,” Fourth Dunhuang International Conference, Gansu Province, 2003
45. “The Image of Xian in Medieval Chinese Art”, Taoist Conference, Zhejiang University (Hangzhou) May 2005
46. “The Transformation of Xuanwu, Guardian of the North”, Third International Conference on Daoism and the Contemporary World , Frauenwörth Monastery, near Munich, Germany, May 25-28, 2006.
47 “The Evolution of the Image of Xian in the Han “Daoist Art History, Xi’an Academy of Art May 2007.
48. ‘The Role of Scriptures in the Iconographical Programs of Three sites in Northern China,” Seminar, Univ. of Toronto, Nov 8 2007.
49. Femininity is Contemporary Asian Art” Vital Bodies International Conference, Liverpool John Moores University, UK, Nov 22-24, 2007
50. “Contemporary Christian Art”ICAS (International Conference of Asian Studies) 6, Daejon, Korea August 2009
51. “The Evolution of the Image of the Divine in Daoist Art”Fifth International Daoist Studies Conference, Mt Wudang, Hubei, June 2009
52. “Tang Buddhist Metropolitan Style”, T’ang Studies: The Next Twenty-five Years, University of Albany SUNY, May 2009
53. “Le Deluge Après Mao: China’s Surging Creative Tide — An Exhibition of Work by Significant Contemporary Chinese Artists” Cress Gallery of Art, University of Tennessee at Chattanooga, November 201054 “The Use of Hanzi in Contemporary Chinese Art”, Seventh International Conference on Hanzi Calligraphy Education, Capital Normal University, Beijing, June 2010
54. “Uses of the Past in Contemporary Chinese Art”, Xiamen University, Fujian, June 2010
55. “The Image of the Winged Celestial and Its Travels Along the Silk Road — Buddhism on the Silk Road II”
XVIth Congress of the International Association of Buddhist Studies, Dharma Drum Buddhist College; Jinshan, Taiwan; June 2011
56.“Contemporary Female Artists Whose Art Employs Themes Related to Daoism” 7th International Conference on Daoist Studies, Nanyue Changsha, June 2011
57. “The Artist as a Force of Change in Contemporary China,” International and Interdisciplinary Conference New Delhi, India Jawaharlal Nehru University, 2012
58. “The Image of Women in Chinese Art,” Eighth International Convention of Asia Scholars (ICAS 8); Macao; June 24-27, 2013
59. “Contemporary Art of the Chinese Diaspora,” Eighth International Convention of Asia Scholars (ICAS 8); Macao; June 24-27, 2013
60.”Contemporary Indian Women Artists,” International & Interdisciplinary Conference; Kolkata; January 3-5, 2013
61. “Mara’s Monsters and the Faces of Fear”, 17th Congress of the International Association of Buddhist Studies, Vienna August 2014
62. “Xuangzang and Evidence for the Worship of Avalokiteshvara Along the Silk Road,” National Museum, Indira Gandhi National Centre for the Arts
62 “Chinese Literati Culture”, Nanjing University May 2015
63. Mara and the Faces of Fear Along the Silk Road”, National Museum, Indira Gandhi National Centre for the Arts, India, January 2016
64. “The Formation of a Daoist Pictorial Iconography in the Tang,” 10th International Conference on Daoist Studies, Tianan Taiho Retreat, Taiwan, May 2016 “Mara and the Faces of Fear Along the Silk Road“, National Museum, Indira Gandhi National Centre for the Arts, India, January 2016
65. “The Impact of the Curriculum of Chinese Art Schools: Western Influences in Chinese Contemporary Art” Central Academia of Fine Arts, China (World Art Historians), September 2016
66. Foreign Influences in The Creation of Hāritī, The Buddhist Protector of Children National Museum, Indira Gandhi National Centre for the Arts, India, March 2017 (in absentia)