Wong's second solo exhibition was held at New York's Bridge Gallery from 9–27 April 1963, perhaps the first solo exhibition a Singaporean staged in New York. The Nanyang Siang Pau reports that "Wong Keen exhibits 25 large-scale oil paintings, the largest of which were 8 x 6 feet, the smallest of which was 4 x 3 feet, and 30 ink paintings, all completed in America." An appraisal by his lecturer Sidney Gross was published and translated in both American and Singaporean newspapers:"I remember vividly the first time I saw his watercolours [sic] and drawings. They're lyrical, extremely suggestive and filled with a special sensitivity he could only have inherited. Although they were quite abstract and informal, I felt all the traditional Chinese influences very beautifully integrated. Wong Keen is a very gifted young man and I have enormous confidence in his future."His next solo exhibition was held from 27 Feb-18 Mar 1965, at Westerly Gallery shortly after he was awarded the Ford Foundation tuition scholarship. As accounted by gallery manager Suzanne Varady, "when I first saw his work early this winter I was so impressed I immediately set about arranging an exhibition." The works in this exhibition seemed to have made an impact in the way Wong's practice stood between Chinese aesthetic influences and Western modernism. Sidney Gross commented that "Wong was one of a group of talented painters here [New York] trying to assimilate many Western ideas without losing their own identity." The Taiwanese artist and writer Ho Tiehhua (), then based in New York, wrote a lengthy commentary:
