This culminated in Anna studying Chinese painting under the notable artist Chao Shao-an of the Lingnan School in Hong Kong from 1957-1958.

[3] While she was a student, she exhibited at the 1965 Burnaby Art Society National Print Show, receiving an Honourable Mention for her work Morphallaxis XXIX (1965).

[3][9] She returned to Vancouver every summer and ran a printing workshop in Burnaby Art Centre in 1971 with Stasik and taught at the VSA and Malaspina Printmakers.

She photographed landmarks including the Great Wall and Buddhist caves such as at Dunhuang or Lungmen, but also scenes of daily life, which became part of a new series of prints based on her travels.

The exhibition was accompanied by a full-colour publication of the same title in two bilingual editions (English/French/Chinese), with an introduction from curators Jennifer Cane and Ellen vanEijnsbergen, and essays from Keith Wallace and Zoë Chan.

[3][11] Curator Zoë Chan has connected Chinese brush painting closely with writing and has discussed how this combination of the visual and textual are visible throughout the rest of Wong's art practice.

[3] After enrolling in VSA, she began creating ink line drawings that combined her calligraphic influence with the lessons of her teachers such as Ann Kipling.

[3][24][25] Her prints based on her travels to China further incorporated multiple printmaking techniques while also adding other mixed media elements such as ribbon, silk, paper and ink stamps.

[3][9] These were combined with photo transfers from photographs she took on her trips whose subjects included people on bicycles, graffiti, ancient Chinese sites, such as the Great Wall, and household items.