As one of the most important Chinese ink artists in the modern period, Huang Binhong (1865–1955) remains little studied outside of China. An upcoming exhibition of Huang Binhong at the Los Angeles County Museum of Art is aimed to fill this gap. A key objective of the show is to demonstrate that, more than a traditional master, Huang was also a pioneering modernist, making breakthroughs in ink painting especially in the last ten years of his career. Of the many complex and varied stylistic tendencies manifest in his late works, I propose that two were particularly transformative, displaying the signature features of Huang’s ink practice and pointing toward abstraction. One type is characterized as thick, rich, and substantial, and the other calligraphic, sketchy, and skeletal. This presentation briefly discusses the first type and focuses on the second type in conversation with contemporary art works. Deeply rooted in tradition, Huang Binhong’s innovation was ahead of his time. Deconstructing the compositional and stylistic norms of traditional landscape painting, Huang replaced them with a new structure and a rejuvenated painting vocabulary.