The Brief

A mahjong set. A black dress with a deep V paneled with lace. A makeup box emblazoned with a Chinese name: Wong Liu Tsong.

Anna May Wong's mah jong set is one of the personal items on display to the public for the very first time at the exhibit.

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Some of Anna May Wong's personal belongings are on display for the first time ever at the Chinese American Museum in Los Angeles, part of a new exhibition about the woman known as Hollywood's first Chinese American film star.

Unmasking Anna May Wong, which opens Thursday and runs until Jan. 26, 2025, gives a glimpse into the inner life of a screen legend whose magnetic presence and quest for better representation of Asian Americans in the arts and media resonates with audiences today.

"I feel that people are starting to wonder, 'Well, who was the first Asian American to be in this business?" said Katie Gee Salisbury, author of a new biography about Wong. "When you go back far enough, it's Anna May Wong."

Katie Gee Salisbury, who wrote a new biography about screen star Anna May Wong, co-curated the new exhibition at the Chinese American Museum.

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Salisbury co-curated the exhibition some 20 years after interning at the Chinese American Museum in college and stumbling upon the story of the L.A.-born Wong. Through talent and grit, she went from working at her father's laundry downtown to gracing the soundstages of Hollywood, where she starred in her first silent film at age 17.

Wong's acting chops caught the attention of superstar Douglas Fairbanks, who in 1924 cast her in The Thief of Bagdhad, catapulting her to international fame.

It came at a cost.

Wong's career-long battle against racist typecasting and sexism is chronicled in Salisbury's Not Your China Doll: The Wild and Shimmering Life of Anna May Wong.

Wong was fed up with playing dragon ladies and being treated as a second-class citizen when she was third-generation Chinese American. In 1931, she took a trip to China to learn the culture and language, an experience she documented on film. Salisbury said she came back changed.

Though she was a third-generation Chinese American, Anna May Wong had to file a special application to get traveling papers that proved she was a U.S. citizen and not an "alien" Chinese.

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Anna May Wong at her Santa Monica home which she designed with the help of renowned architect Rudolf Schindler.

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"She decided that she was no longer going to take on any unsympathetic roles," Salisbury said. "And she would only play roles that reflected well on her people."

Michael Truong, the executive director of the museum, said Wong's battles in Hollywood are some of the same waged today by Asian American creatives.

"We should look at her as a trailblazer and to continue on her steps to make sure that we are equally represented in media," Truong said.

The exhibition was inspired by a 12-foot-tall mural of Wong created in 2020 by the artist Rachel O'Donnell for a different show about red envelopes. Rather than paint over the mural when the exhibition ended, staff decided to build a new one dedicated to Wong that rides a surge in interest in her.

Michael Truong, executive director of the Chinese American Museum, said that the Anna May Wong exhibit has been several years in the making.

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Wong is the subject of a second recently-released biography Daughter of the Dragon: Anna May Wong's Rendezvous with American History and an upcoming biopic to star Gemma Chan and to be penned by playwright David Henry Hwang.

She's been portrayed in the 2020 limited Netflix series Hollywood, and was the inspiration for a pivotal character in the film Babylon, which opened in 2022. That same year, Wong became the first Asian American to be featured on U.S. currency with the release of a commemorative quarter featuring her face framed by her signature bangs.

It's just one of multiple firsts that Wong achieved in a life cut short.

After leaving the U.S. to act in films and plays in Europe, Wong returned stateside to make the 1937 crime thriller Daughter of Shanghai, opposite the Korean American actor Philip Ahn. They were the heroes and the villain roles were filled by white actors.

The pair became the first Asian Americans to play a leading romantic couple in the sound era.

"It was kind of visionary that she helped create this script," Salisbury said. "Unlike many of her early films where she often had to die or was killed off, she actually gets a happy ending."

Two of Anna May Wong's dresses, gifted to the museum by author Lisa See, are on display.

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In real life, things were more complicated. Wong found work after her ingenue years were over — in 1951, she became the first Asian American to lead a television show with “The Gallery of Madame Liu-Tsong" — but roles became scarcer as she got older.

Wong struggled with alcoholism and developed cirrhosis of the liver. In 1961, she died of a heart attack at her home in Santa Monica, just a couple weeks before she had been scheduled to begin rehearsals for the Rodgers and Hammerstein hit musical Flower Drum Song.

"She was only 56," Salisbury said. "But if you consider all the things she did in her short life, it's worth several lifetimes."

State regulators voted Thursday to stop Southern California Gas Co. from charging customers to help pay for planning miles of pipelines that would bring hydrogen gas to the L.A. Basin.

The company says the project would reduce the region’s reliance on methane gas.

Southern California Gas estimates it would cost about $266 million to study and plan the project — called Angeles Link — and asked the state Public Utilities Commission to allow it to recover those costs through customer rates. The company had proposed a monthly increase of $0.35 on the average residential customer bill over the course of three years.

The commission unanimously rejected the request, saying the company had not proved any direct benefit to customers. The decision effectively halts the project for now, and comes amid a stall in federal funding for hydrogen projects under the Trump administration.

Local environmental groups involved in the community advisory process had also grown frustrated by negotiations that they said, in a letter to state regulators, “does not prioritize genuine community engagement.”

As global pollution levels continue to climb, the commission’s decision also highlights the growing challenge of transitioning to a cleaner energy supply amid rising utility bills and open questions about the safety and true environmental cost of largely untested technology.

Why hydrogen?

Hydrogen is a colorless gas that is considered "clean" because it doesn’t involve carbon, which — when burned to create energy — becomes carbon dioxide, a major planet-heating gas.

But it takes energy to produce hydrogen, and most hydrogen these days is created by burning fossil fuels. “Green” hydrogen is created by using clean energy sources like solar and wind to split water into oxygen and hydrogen.

SoCal Gas said the Angeles Link project would prioritize green hydrogen.

Most experts see green hydrogen as an important clean-burning fuel for hard-to-electrify industries, such as long-haul trucking and gas-fired power generation. The city of Los Angeles, for example, wants to retrofit its Scattergood Power Plant near El Segundo to burn hydrogen instead of methane gas to generate electricity.

There are many open questions about how safe the highly-combustible gas is for proposed uses and how much water it will require to make. At the same time, extracting and burning fossil fuels for electricity and fuel also takes water — a growing problem as climate change drives longer and hotter droughts.

Experts say, if done right, hydrogen can reduce that water intake and not have a major impact on water supplies.

Also, burning hydrogen could actually worsen local, lung-damaging nitrogen-oxide air pollution, at least with the technology as it currently stands, according to energy researchers.

Reactions to the decision

SoCal Gas will now have to turn to shareholders or other sources of funding if the company wants to proceed. The company did not directly answer LAist’s questions about whether it would.

“We continue to believe that hydrogen—including clean renewable hydrogen—can help advance California’s energy and climate goals while supporting the long‑term affordability, security and reliability of energy service for customers,” SoCal Gas spokesperson Brian Haas wrote in an email to LAist.

Environmental groups celebrated the vote, while emphasizing they see green hydrogen playing a role in the state’s future.

“Residential customers should not subsidize speculative infrastructure for large industrial users,” said Michael Colvin, director of the California Energy Program at Environmental Defense Fund, in a statement.

“We look forward to working with regulators, utilities and large customers to build a credible, cost-effective strategy to cut climate pollution from sectors that are hardest to electrify,” the statement read.

Global events like the World Cup and the 2028 Olympics are sure to draw thousands of new visitors wanting to get to know Los Angeles.

L.A. has a lot to offer, including its vast and varied portfolio of public art. It’s even been referred to as the mural capital of the world. So if you want to explore some of the city’s art, here are a few murals you won’t want to miss.

Sports 

“LA Rising” at the Miyako Hotel in Little Tokyo celebrates the Dodgers’ Shohei Ohtani, depicting him in his two roles — hitter and pitcher.
- Where to find it: 328 First St., Los Angeles

“Blue Heaven on Earth” is a love letter to the Dodgers, depicting both Shohei Ohtani and the late Fernando Venezuela.
- Where to find it: 1647 Blake Ave., Los Angeles

A mural honoring Winter Olympics Gold Medalist Alysa Liu in Gardena.

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California native and Olympian Alysa Liu captured the world’s attention with her figure skating in the Winter Olympics. This mural in Gardena celebrates her win.
- Where to find it: 15532 Crenshaw Blvd., Gardena

A mural of L.A. Lakers legend Kobe Bryant and his daughter Gianna can be found outside Hardcore Fitness L.A.

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“City of Angels!” pays tribute to Lakers legend Kobe Bryant and his daughter, Gigi.
- Where to find it: 400 W. Pico Blvd., Los Angeles

Music

Whitney Houston, Rihanna, Aaliyah, Amy Winehouse and Selena are memorialized on this Hollywood mural.
- Where to find it: 7677 Sunset Blvd., Los Angeles 

“Jazz on the field” is an ode to Wrigley Field and the Dunbar Hotel in South L.A. and depicts jazz icons Louis Armstrong and Etta James, as well as Martin Luther King Jr.
- Where to find it: 43rd St. and Grand Ave., Los Angeles

When Kendrick Lamar featured Tam’s Burgers in his “Not Like Us” music video, the burger spot in Compton commissioned a mural highlighting the rapper’s unforgettable single.
- Where to find it: 1201 Rosecrans Ave, Compton

Historic to LA

A section of the Great Wall of Los Angeles mural, designed by muralist Judy Baca, that showcases pivotal moments in Los Angeles History.

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“The Great Wall of Los Angeles” is one of the largest murals in the world, and it’s supposed to get bigger. The half-mile art piece depicts California’s rich history.
- Where to find it: Along the L.A. River in the San Fernando Valley, on Coldwater Canyon Avenue between Burbank Boulevard and Oxnard Street. 

“The Blessing of the Animals” at La Placita Olvera depicts the Catholic tradition of blessing one’s animals.
- Where to find it: 115 Paseo De La Plaza, Los Angeles

“El Grito” depicts a scene that sparked Mexican independence from Spanish rule.
- Where to find it: Placita de Dolores at 831 N. Alameda St., Los Angeles

When you take a bite of the lomo saltado burrito from Merka Saltao, a fast-casual Peruvian restaurant in Culver City, one of the first things you'll notice is the sauce.

The wok-fried chunks of steak, dressed in a soy-and-oyster sauce reduction spiked with vinegar, saturate the rice inside the tortilla, highlighting the sweet heat of ají amarillo mixed with the velvety texture of pinto beans.

It's a beautiful confluence of flavors. It is also, depending on who you ask, either a creative act of evolution or a betrayal of Peruvian culinary heritage.

Standing on business

The lomo saltado burrito at Merka Saltao wasn't exactly a calculated move. Lifelong friends Alonso Franco and Ignacio Barrios — who met in high school in Lima — came to Los Angeles to bring Peruvian food to the masses, first through a ghost kitchen concept they ran from 2021 to 2023. The burrito happened almost by accident: a member of their kitchen team brought in a tortilla one day, someone suggested wrapping the lomo saltado in it, they ate it, and within three days, it was on the menu.

Merka Saltao co-founders Ignacio Barrios, left, and Alonso Franco, right, inside their Culver City restaurant. The two lifelong friends from Lima opened the fast-casual brick-and-mortar location for their Peruvian concept in August 2025.

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The data from the ghost kitchen made the case for keeping it there. Franco and Barrios had launched with around 140 dishes — lomo saltado, ceviche, chicken dishes, the works. But the numbers kept pointing to the same thing: wherever lomo saltado appeared on the menu, in whatever form, burrito, bowl, salad, it was the winner.

(Ceviche, for all its cultural cachet, is raw fish with raw onion — a harder sell for a weekday lunch. Lomo saltado, Franco noted, is steak and fries — basically a hamburger.)

The backlash

The two friends made the leap to brick-and-mortar in August 2025, opening Merka Saltao in downtown Culver City. It's one of the more competitive dining corridors in L.A., the kind of block that can support a $16 wellness bowl and a craft beer bar in the same stretch, populated by Amazon employees on lunch breaks, families on weekend outings, and food-literate regulars who will absolutely have opinions about what goes in a burrito.

Those opinions arrived faster than Franco expected. Within the first week of opening, an influencer came in and posted about the restaurant — but instead of showing the full menu, the bowls, the chicha morada, the flexibility of the concept, they showed the burrito. Just the burrito.

Franco working the wok at Merka Saltao. The high-heat wok technique at the heart of lomo saltado traces its roots to Chinese immigrants in Peru

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The comments turned quickly. "No! Peruvians don't eat burritos. ¿Qué car—o es eso?" — roughly, "what the hell is this?" — wrote one commenter. Another said "Burritos? We don't eat burritos in 🇵🇪”. Franco describes sitting at his computer reading the pile-on, feeling something between anger and devastation. "There was a moment where I probably even cried," he said, "thinking, I've made a mistake." But then he looked at the numbers. 30,000 had seen the post…. And half the comments were in his defense.

He took the conversation to Reddit, posting to r/FoodLosAngeles asking the community directly: am I wrong for this? The response was overwhelming — hundreds of comments, almost entirely in his favor, and a surge of new customers walking through the door shortly after.

Fusion by default

This is Los Angeles, where many of the dishes that define the Southern California diet were born precisely from cultures colliding. Roy Choi built an empire on Korean tacos. Al pastor traces its technique to Lebanese immigrants who brought the vertical spit. The California roll, invented by Japanese chefs in Los Angeles in the 1960s, introduced an entire country to sushi. None of these dishes destroyed the traditions they borrowed from. If anything, they expanded their audience. And the lomo saltado burrito isn't exactly a novel concept in Southern California to begin with — everyone from Pablitos Tacos in North Hollywood to Le Hut in Santa Ana, run by 2025 James Beard Award-nominated chef Daniel Castillo, has featured their own version. Even Disney's California Adventure got in on it, serving a lomo saltado burrito out of the Studio Catering Co. food truck as recently as last year.

The lomo saltado bowl and burrito at Merka Saltao in Culver City — two versions of the same dish that sparked an unlikely online debate about Peruvian culinary identity.

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Franco would also point out that lomo saltado itself — the dish the purists are so eager to protect — is a product of Chinese immigrants bringing the wok and soy sauce to Peru roughly 300 years ago. "Peruvian is by default fusion," he told me. "So we have all the right to wrap it up in a burrito." What the online critics were really doing, whether they knew it or not, was defending a dish that was itself once considered inauthentic — and doing so in the name of authenticity.

Where things stand

Since the backlash, Franco says business has been mostly steady — breaking even, which for a concept that requires high volume at a low price point, he considers a good sign. The controversy changed things in ways he didn't expect: people started coming in specifically because of the story, not just the food. He began putting himself front and center in the brand, regularly making videos on social media about what it's like to run the business, occasionally poking fun at himself and the whole debate. When we visited during the weekday lunch rush, there was a steady line of people waiting to order, many stopping to talk with Franco directly.

In a way, he's answered the authenticity question not with an argument but with a presence — showing up, telling the story, letting the food speak. "Honoring my food, if that requires pairing lomo saltado with a salad or wrapping it in a tortilla, I have no problem," he said. "I'm not being less authentic. We are evolving in Peru anytime. I have to be authentic on the individual flavor and then be flexible to reach more people to discover our flavors."

The burrito, it turns out, was never the point. It was just the door.