At the same time, through poetry writing and drama performances, he established cross-border connections with many Left-wing politics and artistic societies in East Asia, exchanges spread across Taiwan, Japan, China, and North Korea, and thus forged friendships with Choi Seung-hee, Lei Shiyu, and others.
[2][3] In his works, Wu Kunhuang often uses buffaloes, black drongo, egrets, and chinaberry trees to express his longing for his hometown.
Yeh Ti, "Sketch of Wu Kunhuang - A Cultural Person's Spiritual Landscape," Genesis Poetry Magazine, October 2004, pp. 336–341.
Chen Shu-Rong, "Rereading Wu Kun-Huang: A Historical Study of Thoughts and Actions," "Literary Taiwan," July 2013, pp. 43–72.
Zhu Shuang-yi, "Presenting the prosperous literary creation in the development period--Poetry creation inside and outside the left-wing literary and artistic groups such as Wang Bai-yuan and Chen Qi-yun (Wu Kun-Huang part)," "History of Taiwan Literature" (Volume 1), Fuzhou, Strait Literature and Art Publishing House, 1991.
Liu Shuqin, The Path of Thorns: Literary Activities and Cultural Struggles of Taiwanese Youth in Japan, Lianjing Publishing House, first edition 2009.
Taiwan Art Research Association People who interacted with him during his stay in Japan: Wang Baiyuan, Zhang Wenhuan, Lin Dui, and Su Weixiong.