30年代日本左翼文化界有相當規模的跨域交流。以日本左翼劇壇、左翼文壇為中心的跨域交流，參與者包含了日、中、臺、朝、滿，甚至國際左翼團體在內的各國旅日人士。臺灣文化界與日本左翼文化界及中國旅日戲劇文學人士的交流，正建立在這個基礎之上。在臺灣方面落實這些交流的，是一批企圖借重日本左翼文化陣營，廣結國際反帝勢力，追求殖民地解放的文藝青年。 凝聚於臺灣藝術研究會的這批青年，於1934年左右因為經費、人力及成員意識形態問題，陷於疲態。不過他們卻因為島內臺灣文藝聯盟的成立、與島內文意運動合流，而一躍成為臺灣文藝聯盟結海外文藝運動的先鋒。以吳坤煌、張文環等人為中心，臺灣藝術研究會於1935年蛻變為臺灣文藝聯盟東京支部，至1936年秋之間，他們與東京若干中、日反帝文化團體進行多邊的合作與交流。雖然他們的活動有限，但是他們在此一交流過程中流露的視野與企圖，確彌足珍貴。對這批旅日青年來說，臺灣是他們中的終極關懷，在國際反帝運動中他們是獨立主體，與其他民族平等合作。但是另一方面，由於依附於以中、日民族為中心的國際陣線，他們也難免成為邊緣的客體。這種既中心又邊緣的文學運動與文化抗爭型態，以及當時臺灣作家與中、日，甚至朝、滿等文學者的往來與接觸，在臺灣文學史上堪稱特殊的一頁。

There was a relatively large cross domain exchange in Japanese leftist cultural circles in the 30's. This cross domain exchange was centered on Japan's leftist theatre and leftist literary circles and participants included Japan, China, Taiwan, Korea, Manchukuo and even various foreign members of international leftist groups staying in Japan. The exchange between Taiwanese cultural circles and Japanese leftist cultural circles and Chinese members of the theatrical and literary world traveling to Japan was based precisely on this foundation. Effecting these exchanges in Taiwan were a group of literary and artistic youth wishing to make use of the Japanese leftists' cultural camp and link up with international anti-imperial forces and striving for liberation from colonialism. The youth gathering around the Taiwan Art Research Society sank into a state of inertia in 1934 due to problems with expenses, manpower and the ideologies of its members. However, with the founding of the Taiwan Art Union and the coming together of literary and artistic movements on the island, it quickly sprang forth as a vanguard linking up with overseas literary and artistic movements for the Taiwan Art Union centered on Wu Kun-Huang, Chang Wen-Huan and others. Taiwan Art and Literary Research Society underwent a transmutation in 1935 to become the Art Union Tokyo Branch and by the autumn of 1936, they had carried out multilateral cooperation and exchange with several Chinese and Japanese anti-imperial cultural organizations in Tokyo. Although their activities were limited, the vision and pursuits they revealed in the course of their exchanges was something to be treasured. For this group of youth resident in Japan, Taiwan was something they cared infinitely about and they acted as an independent body in the international anti-imperialist movement, cooperating with other nations on a basis of equality. However, due to their primarily Chinese and Japanese international front, it was hard to avoid becoming a marginal entity. The form of cultural struggle of this both centralized and marginal literary movement and the contacts between Taiwan authors and Chinese, Japanese and even Korean, Manchukuo and other literary personages, can be said to be a special chapter in Taiwan's literary history. This splendid chapter in Taiwan's literary history has never been given attention and discussion. The purpose of this text is to make a preliminary outline of some of the rare and valuable cross domain activities carried out by the soul characters of the Art Union Tokyo Branch; Wu Kun-Huang and Chang Wen-Huan.