For more than five thousand years, silk was an integral part of life in China, composing an illustrious chapter in the history of Chinese civilisation and global cultural interaction. Strong yet soft, silk is woven from the fibre produced by silkworms. Its natural lustre adds to its appeal. China, the birthplace of silk, was known as Serica (State of Silk) by ancient Greeks and Romans, and China remains the world’s largest silk producer today. Sericulture, which includes mulberry cultivation, silkworm breeding, silk reeling, and silk weaving, was a remarkable creation of the ancestors and served as an important step in the origin and development of Chinese civilisation. Silk production has played a key role in the livelihood of the Chinese people, as well as in socioeconomic developments and technological innovation in China.

Silk not only helped connect diverse ethnic groups and vast regions across China but also bridged China and the rest of the world. Silk was a highly sought-after luxury good, as precious as gold, and was also a form of currency that facilitated vibrant exchanges between China and many parts of the world along the trade routes known as the Silk Roads. Silk has made unique contributions to world art: it has been widely used as a support for Chinese paintings and calligraphic works, as a canvas for artistic experiments in colour and decoration, and as a fabric for clothing.

The largest and most comprehensive exhibition of ancient Egyptian treasures in Hong Kong in recent decades features nearly 250 exquisite objects from seven important institutions in Egypt, including the Egyptian Museum and Luxor Museum. It also highlights significant new archaeological discoveries from the large tombs at Saqqara near Cairo. The exhibition illustrates the legendary life of the Egyptian pharaoh Tutankhamun (r. ca.1332 BCE–1323 BCE) while exploring statues, coffins and animal mummies found in Saqqara since 2018.

Gallery 9, Hong Kong Palace Museum

L’ÉCOLE, School of Jewelry Arts is delighted to unveil "Discover the Diamond, Art & Science", a comprehensive range of programs in Hong Kong to explore the diamond journey from rough stone to brilliant elegance. The newly curated series of activities will feature opresentation, talks, courses and a variety of cultural moments centered around theme of diamonds. “Discover the Diamond, Art & Science,” is scheduled to take place at the L’ÉCOLE Hong Kong campus at K11 MUSEA from November 22nd, 2025, to April 30th, 2026.

Venue address: 510A, 5F, K11 MUSEA, Tsim Sha Tsui

This exhibition brings together a selection of major works produced by Rauschenberg during and in response to his time in Asia. It traces the conceptual, formal and material influences on his practice, such as sourcing textiles and collaborating with paper makers and ceramicists in China, India, and Japan. The exhibition also considers the history and legacy of his Asian Rauschenberg Overseas Culture Interchange (ROCI) projects, which included exhibitions in Beijing (1985), Lhasa (1985), Tokyo (1986), and Kuala Lumpur (1990), and their lasting impact on local artists. The display will feature works by Rauschenberg and by Asian artists in dialogue with his practice, and marks the centenary of the artist’s birth.

Venue: Cissy Pui-Lai Pao and Shinichiro Watari Galleries, L2

Zao Wou-Ki: Master Printmaker explores the Chinese-French artist’s life, his prints, and his mastery of abstraction. It sheds new light on Zao’s printmaking practice, introducing the unique aesthetics, techniques, and styles of this medium while investigating the connections between oil painting and printmaking as equally significant aspects of his oeuvre. The exhibition explores how Zao’s printmaking catalysed his experiments in abstraction and considers the role of prints as a visual and conceptual vehicle that facilitated the circulation of his works, positioning him as an eminent cross-cultural figure in the post-war art landscapes of Europe, Asia, and the United States.

Venue address: Main Hall Gallery, G

In traditional Chinese landscape painting, attention is often drawn to the majestic landscape itself. Yet, it is in the scantily described miniature figures that the soul of a landscape painting resides. Playing neither a dominating nor a supplementing role, they encapsulate the painter’s intent and serves as his magic wand that turns the painting into an idealised place for travelling, gazing, roaming and dwelling. Engaging in disparate activities, these figures venture deep into nature, communing with it and giving life and meaning to the painting. Far from random ornaments, they personify the painter besides embodying his musings and inclinations.  

Featuring a fine selection from the Chih Lo Lou Collection, the exhibition zooms in on figures in Chinese landscape paintings to reveal their identities, stories and cultural significance. Following the ink marks as leads, visitors to the exhibition will be able to explore how these tiny beings, reclusive, cynical or otherwise, are transformed into the protagonists of the landscape narratives. 

Venue address: Chih Lo Lou Gallery of Chinese Painting and Calligraphy, 4/F

WMA presents ‘Pollyanna and the Glad Town’, the inaugural commissioned project for its 2025/26 biennial theme ‘Hope’. Hong Kong artist Doris Wong Wai Yin, known for her conceptual practice attuned to everyday experience, ventures into new ground with AI‑generated images alongside performance and video. Rather than resorting to slogan-like declarations, the project probes hope as something far more intricate, authentic and emotionally multifaceted in contemporary society.

The artist introduces the classic children’s literary character Pollyanna－an unwavering optimist who ‘finds the good in everything’－and sends her into the battleground of ‘Glad Town’. Can such a persona remain intact? A series of video and installation works marked by ruptures and a sense of aesthetic excess interrupts our numbness to the digital and physical worlds, prompting us to reflect on the meaning of hope.

Gallery address: 8/F Chun Wo Commercial Centre, 23-29 Wing Wo Street

PROTOTYPING:

presents Hong Kong's original innovations within a pocket-sized universe- akin to a mise-en-scène awaiting its actors, audiences are warmly invited to step into immersive, theatrical scenarios. Here, the Gallery is not merely a showcase but a living lab, an interdisciplinary platform, and a participatory experiment. Let’s discover how Hong Kong innovations are shaping the city, rooted in the needs of the community and the challenges of our time.

Venue address: 18/F, Lau Ming Wai Academic Building, CityU HK

The British Council announces its second art exhibition, 'Gleams and Echoes', at the newly transformed 'Bookshop Gallery'. Curated by Hong Kong curator Wong Ka-ying, the exhibition brings together the British Council Collection and creations by local young artists, transforming the Bookshop Gallery into a vibrant platform for artistic exchange, weaving together new sparks of artistic perspectives between the UK and Hong Kong through creativity, contemplation and dialogue.

'Gleams and Echoes' builds upon the 'GREAT Art' zone jointly presented by the British Council and the British Consulate-General Hong Kong at the Hong Kong Rising Contemporary Art Fair in May 2025, with a redesigned theme. This exhibition breaks free from the art fair format, delving into cultural identity, artistic expression and local characteristics through a dialogue between the British Council Collection and the creations of Hong Kong's new generation of artists from a fresh perspective.

Venue address: British Council, Basement, 3 Arbuthnot Road, Admiralty

Sponsored by Simon Suen Foundation and co-organised by Jao Tsung-I Academy and Sun Museum, Hong Kong Emerging Artists Exhibition aims to provide a free platform for young Hong Kong artists to exhibit their works, helping them grow into elites of the art world. Thus, intends to revitalise the spirit of Chinese art and inherit the philosophy of Professor Jao Tsung-i, the master of traditional Chinese studies.

Since its inception in 2024, twenty-one emerging artists have been selected through the programme. These artists reinterpret traditional art through innovative forms, showcasing boundless potential and creativity. More exhibitions are coming soon! Phase 4 features five young Hong Kong artists with distinct styles. Their creative media include small metal craft, ceramics, mineral pigments, and fibre art. Through these unique mediums, they present their creative concepts and achievements, reflecting the versatility and diversity of contemporary Hong Kong art.

The selected artists of Phase 4: Victor Wong Siu Chuen, Beavis Yeung Tsz King, Alice Yeung Nga Fei, Edison Chung Chun Kau, Karry Hon Ka Yi

Venue address: Jao Tsung-I Academy, The Gallery - Hall 3

ENDO EXO  and PHOSPHENES  draw upon Carsten Nicolai’s collaboration with Ryuichi Sakamoto, which began in 2002. Both videos feature soundtracks from Sakamoto’s final studio album, 12 (2023). Inspired by Jules Verne’s science fiction novel 20,000 Leagues Under the Sea, the works are two of the twenty-four chapters in Nicolai’s film project 20,000 (2014–ongoing).
Carsten Nicolai: ENDO EXO, PHOSPHENES  is presented in conjunction with the exhibition Ryuichi Sakamoto | seeing sound, hearing time, on view in The Studio from 14 February to 5 July 2026.

Both videos are part of Art at the Stair, an exhibition series at the Grand Stair that presents outstanding moving image works in dialogue with other ongoing programmes.

The third exhibition in the "Lingnan Colour" series, titled "Bird-and-Flower Paintings of Jao Tsung-i and the Lingnan Master," sponsored by the Simon Suen Foundation and co-organised by Jao Tsung-I Academy and Sun Museum, will be open to the public tomorrow.

The exhibition features a selection of 10 collaborative works by Professor Jao and four distinguished masters of Lingnan painting: Zhao Shao-ang, Li Xiong-cai, Yang Shan-sum, and Wu Hao. The exhibition showcases themes from nature, including bees, butterflies, dragonflies, leeches, fishes, lotuses, willows, vines, and stones.

Every brushstroke by the artists is infused with the breath of life; the plants exhibit their growth, while the small insects add dynamism, breathing life and energy into the tranquil landscapes. The five masters together weave a vibrant tapestry of nature that showcases the beauty of the natural world imbued with scholarly elegance.

We warmly invite all to visit The Gallery - Hall 2 at Jao Tsung-I Academy to appreciate these artworks and immerse themselves in the charm and depth of this artistic expression, fostering a closer connection with Chinese culture and arts.

Directed by artist Nam June Paik, this experimental video highlights his friendship and creative exchange with a young Ryuichi Sakamoto. It celebrates New York’s vibrant art scene in the 1980s, reflecting the dynamic intersections of artists and musicians within the Fluxus art movement that began in 1960. Through interviews with renowned figures, including Laurie Anderson, John Cage, Charlotte Moorman, and Julian Beck, the work captures these artists’ collaborative spirit, an important mindset that shaped their art and personal relationships.

Found Space, B2

seeing sound, hearing time celebrates the legacy of composer, producer, and artist Ryuichi Sakamoto (Japanese, 1952–2023). Sakamoto is renowned for his award-winning film scores, wide-ranging collaborations, and exploratory spirit. His 2017 album, async, which he described as ‘some of the most personal music I have ever created’, forms the core of async–immersion (2023), a large-scale installation created in collaboration with artist Shiro Takatani (Japanese, born 1963). The work is part of a series of what they call ‘installation music’, in which the album is paired with a three-dimensional representation of the music in a gallery space. Shown as a site-specific installation in The Studio, the work features Takatani’s visual compositions of Sakamoto’s instruments, plants, books, and other objects in his studio, shown on a large LED screen. The images emerge from either side of the screen and dissolve, one pixel at a time, into abstract horizontal lines before regaining their original form. Takatani’s visual interventions are not synchronised with the sound but evolve continuously, creating a parallel time axis within the artwork. The music from async plays through multiple channels in a surround sound system via high-precision speakers, enveloping visitors in an immersive sonic experience.

Blindspot Gallery is pleased to present “Trevor Yeung: swallowing rumination, gracefully”, on view from 24 February to 2 May, 2026, marking his fourth solo exhibition at the gallery. Yeung is known for using aquariums, horticulture, found objects, installations and photographs as cyphers to project his internalized perception of the world. Excavating the logic of natural and artificial ecologies, he orchestrates scenarios that evoke emotional resonance and simulate social dynamics, eliciting viewers to contemplate upon notions of selfhood and intersubjectivity. Coinciding with his Blindspot presentation, Yeung’s first institutional solo exhibition in France, “Garden of the Nine Suns,” will be on view in CAPC Musée d'art Contemporain de Bordeaux from 3 April to 29 September, 2026.

Yeung’s latest exhibition is conceived as a space of introspection for the solitary pensive dweller. Projecting one’s interior world, a thread of sentimentality, desire and vulnerability runs throughout the exhibition, bearing the visceral traces of time and impermanence. It features Yeung’s latest tank, mixed-media and light sculptures, photographs, and new installations composed of rocks and crystals, reflecting the artist as an avid hoarder, and belief systems which serve as comfort during change.

Gallery address: 15/F, Po Chai Industrial Building, Wong Chuk Hang

Liang Yi Museum thrilled to announce our new exhibition, opening the 26th February: Fabergé and Cartier: Rivals, Visionaries, Mastersmiths.

Step into a world of inspired creativity and unparalleled craftsmanship, where two legendary houses shaped the landscape of luxury for eras to come. Witness the extraordinary artistic dialogue that unfolded between these icons across a century of beauty and revolution—a dialogue mirrored in the dazzling fashion and cultural exchange between the French and Russian imperial courts.

Explore 105 extraordinary objects, including:
1. An Imperial Fabergé Egg
2. Dazzling jewels
3. Precision clocks
4. Exquisite personal treasures

Venue address: 181-199 Hollywood Road, Sheung Wan

Painter and seal carver Wang Xin was born in Xingtai, Hebei province, in 1964, and graduated from the Chinese Painting Department of the Sichuan Academy of Fine Arts in 1991. He currently lives in Beijing, where he teaches Master of Fine Arts students at the Communication University of China. This unprecedented exhibition of his paintings of pine trees offers specific insights into his philosophical mindset and, more specifically, the Buddhist influence of the Diamond Sutra (Vajracchedikā Prajñāpāramitā Sūtra).

The artist’s large compositions combine finely rendered ink drawings of rocks and trees with excerpts from the Diamond Sutra. Reminiscent of Wang’s daily religious practice and study of the text, the sutra’s philosophy influences his compositional choices and defines how Buddhist concepts affect his use of space. A pivotal Mahayana Buddhist scripture, the Diamond Sutra is a core text in the Perfection of Wisdom (Prajñāpāramitā) tradition. Through a dialogue between the Buddha and Subhūti—one of the Buddha’s ten principal disciples, foremost in “dwelling in peace”—it teaches that reality is illusory and empty, revealing profound insights on non-self (anātman) and liberation through non-attachment, impermanence, and emptiness.

Venue address: 1/F & 2/F, Fung Ping Shan Building, UMAG, HKU, 90 Bonham Road, Pokfulam

In the latter half of the 20th century, German designer Dieter Rams created over 350 iconic products for Braun and Vitsœ. His focus on sustainability and user experience continues to influence new designers worldwide. Rams' philosophy of ’less, but better’ is particularly relevant today amidst global resource and environmental challenges. In collaboration with the Rams Foundation, this exhibition showcases a curated collection of his designs, providing insights into his enduring impact on’contemporary design.

Venue address: Experience Centre, Hong Kong Design Institute, 3 King Ling Road, Tseung Kwan O

Tai Kwun Contemporary presents Stay Connected: Supplying the Globe, the second chapter of Stay Connected: Art and China Since 2008. More than 70 artworks from over 40 participating artists re-examine China’s role as the world’s centre for the production and logistics that sustain modern life. They give insights into the individual stories, family histories, and lesser-seen places impacted by globalisation and by China’s unprecedented economic growth in recent decades. 

The artworks in Supplying the Globe are presented in four thematic sections that highlight subjects including ecological footprints, depictions of labour (including artistic work), networks of exchange, and the global realignments brought by the transnational flows of people, materials, and ideas. 

Throughout the exhibition period, Tai Kwun Contemporary will hold cross-disciplinary activities, including a symposium, curatorial talks, and the launch of a companion publication produced in collaboration with Asia Art Archive. 

Alisan Atelier is delighted to present Wandering Mindscape, the debut Hong Kong solo exhibition of emerging contemporary artist Zhang Xiaoli. Opening on 28 February 2026, the reception inaugurates the year-long celebration of Alisan Fine Arts’ 45th anniversary.

Featuring about a dozen recent works, the exhibition showcases Zhang’s meticulous fine painting technique (gongbi) in landscapes set within surreal and imagined spaces. Her compositions incorporate playful game-related motifs, including her well-known Lego and Boxseries, alongside references to chess, the Rubik’s Cube, and labyrinths. Together, her work reframes of the classical literati pursuit of 'wandering in the mind,' echoing the gallery’s anniversary theme, 'Then and Now'.

Opening Reception: 28 Feb, 3–6pm
Artist Talk: 3:30–4:30pm

Gallery address: 1904 Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen

Soluna Fine Art is proud to present Layers to Essence by Korean contemporary artist Seungtaik Jang, his first solo exhibition in Hong Kong. The exhibition centers on the artist’s signature Layered Painting series, reflecting his ongoing exploration of color, process, and the very nature of painting. By focusing on color, the most basic yet fundamental element of painting, Jang investigates what painting can be beyond representation. The light that emerges between layers exists as both material and perception, guiding viewers to uncover the essence of painting through the quiet intensity of layered color.

Opening Reception: 5 March (Thur) 6 - 8 pm

Gallery address:  G/F, 52 Sai Street, Sheung Wan

1a space proudly announces down to earth (exhale), the 2nd edition of our Mid-Career Artist Exhibition and Publication Series. This project brings together the selected team of artist Chloë Cheuk, curator Yang Yeung, and researcher Christina Chung to explore the artist’s evolving practice with diverse perspectives.

down to earth (exhale) is a solo exhibition of works by Montreal-based Hong Kong artist Chloë Cheuk. Her past sculptural and video works are contextualised in a Hong Kong that she is starting to get to know since relocating to Canada ten years ago. This exhibition presents Chloë Cheuk’s evolving practice, which is driven by curiosity, experimentation across mediums, and an ongoing quest to pursue completeness–an intrinsic quality in her artistic practice and her life. down to earth (exhale) is accompanied by the publishing of Cheuk’s first artist monograph, Chloë Cheuk: In Search of Completeness.

Opening reception: 7/3 (Sat), 4-6pm

Gallery address: Unit 14, Cattle Depot Artist Village, 63 Ma Tau Kok Road, Ma Tau Kok

Art Perspective and LIS10 Gallery Hong Kong are pleased to present Ritual Lines, a two-person exhibition bringing together Dr Esther Mahlangu and Foster Sakyiamah. Across generations and distinct cultural contexts, the exhibition approaches line and pattern as a system of meaning—a way to transmit knowledge, hold memory, and activate the painted surface as a lived, embodied space.

For Dr Esther Mahlangu, line operates as language: precise, radiant, and inherited. Rooted in the visual traditions of isiNdebele painting, she carries a living vocabulary of geometry, symmetry, and colour into contemporary formats—extending cultural codes beyond the architecture of the home and into today’s global art conversation.

In Foster Sakyiamah’s paintings, line becomes atmosphere: an interlacing field of curved strokes that generates rhythm, depth, and vibration. Based in Accra, Ghana, Sakyiamah is known for vivid palettes and distinctive curved linear patterning, where figures emerge through—and at times merge with—a pulsing ground, transforming everyday scenes into images charged with movement and presence.

Gallery address: 12/F, M Place, Wong Chuk Hang

“Profound Impressions: The Art of Liu Chunjie's Original Plates and Prints" is the first print-focused exhibition since the museum's relocation, following the 2017 exhibition "Evolving Images: Modern Hong Kong Printmaking." It is also this year's "Sun Delight" programme. Titled "Profound Impressions", the exhibition alludes both to the force embedded in every carved mark on the woodblock, and to the artist's deep contemplation and relentless exploration into the essence of art. Sun Museum aims to offer audiences in Hong Kong — a tropical coastal city in southern China — a chance to experience the vastly different northern landscapes and rural scenery, as well as the pure, serene, lyrical, and passionate beauty of the black soil of the north, expressed through the artist's bold style.

Venue address: G/F & 1/F, Artisan House, 1 Sai Yuen Lane, Sai Ying Pun

Artist Jay Lau, an artist-in-residence at the Hong Kong Visual Arts Centre (vA!), drew inspiration from the history of Victoria Barracks – the former site of Hong Kong Park. Beginning with Cassels Block, a Grade I historic building that now houses vA!, he constructed a parallel reality in which its long-lost "twin" building, Birdwood Block, had never been demolished.

The exhibition employs "incising" as a method to probe historical archives and images, transforming their cracks into new narratives. Drawing on archival photos of the old barracks as a foundation, Lau applied image-editing software and AI generation technology to fabricate scenes of Birdwood Block across various timeframes, transforming them into a series of prints and installations dispersed throughout vA!'s space. This invites visitors on a journey to rediscover the forgotten past of this historic building, to imagine the infinite possibilities at pivotal moments in history, and to provoke reflection on the nature of historical truth.

Venue address: Public Area on 1 – 5/F of the Hong Kong Visual Arts Centre (vA!), Hong Kong Visual Arts Centre

Contemporary by Angela Li is excited to present solo exhibition of Chan King Long, Ken, “What Hums in the Rain”, featuring his latest series of works. 

“We must let go of our fixations on the apparent, release our senses, so that we may hear the whispering hum buried within the backdrop of wind and rain. That is not noise, but the true essence of life." — Chan King Long, Ken  

The world is a reckless vehicle hurtling forward, while time is a torrent that dilutes ourperception. Beneath the endless rain, the contours of everything dissolve into obscurity. In times of generational transformation, culture and values often collide, creating sparks, while also leaving behind waves of dispute that slowly accumulate in our subconscious as love, hatred, understanding and regret. The voices of society ebb and flow, pulling our attention from all around until we gradually grow numb and disoriented.

Opening reception: 5-8 pm on Thursday, 12 March, with the artist present.

Gallery address: G/F, 248 Hollywood Road, Sheung Wan

SC Gallery is pleased to present Singaporean artist duo Chow and Lin's first solo exhibition in Hong Kong. This exhibition features a curated selection of artworks from their internationally acclaimed, long-running project, “The Poverty Line” (2010 - present). It includes images from earlier global case studies alongside new work created in Hong Kong last December. By combining economic sociology with photographic typologies of food, Chow and Lin engage with global issues of poverty, inequality, and food systems through contemporary realism and research-based practice. Their works are in the permanent collections of institutions such as MoMA and the China Central Academy of Fine Arts Museum, and their book “The Poverty Line” is in the collections of the MoMA Library, the Pompidou Bpi, V&A Museum and National Gallery Singapore.

Opening reception: 14 March, 4-7pm

Gallery address: 1902, Sungib Industrial Centre, Wong Chuk Hang

Lee Bul (South Korean, born 1964) is one of the most prominent contemporary artists to emerge from Asia in recent decades. Lee Bul: From 1998 to Now is a comprehensive survey of her career to date, featuring major works from the artist’s studio and collections across Asia and beyond.

The exhibition at M+ unfolds in three comprehensive sections that span the artist’s career. It opens with an immersive open landscape, featuring iconic architectural installations from Lee’s Mon grand récit series (2005–ongoing). These complex works encourage visitors to reflect on the grand narratives of the modernist project and the aesthetics of failed utopias. This section also includes a selection of two-dimensional works from the Untitled (Willing To Be Vulnerable—Velvet) and Perdu series (2016–ongoing). The second chapter presents examples of Lee’s groundbreaking Cyborg and Anagram series from the late 1990s and early 2000s, which first brought her international acclaim. Combining wide-ranging references from critical theory, art history, and science fiction, these striking works explore entwined ideas of figuration, gender, and beauty in an increasingly technological world. The final section, evoking an artist’s studio, features a constellation of drawings, sketches, and maquettes, revealing how Lee conceptualises and realises her artworks.

Venue address: West Gallery, L2, M+

Hanart TZ Gallery is delighted to present Bingyi’s solo exhibition “Formation of the Cosmos”, in collaboration with INKstudio. The exhibition features Bingyi's monumental 24-meter-long masterpiece, All Things, delving into the intersection of ancient spiritual wisdom, energy structures, and contemporary artistic expression through the themes of "Lightning Painting” and “Talismans". This show is a profound exploration of Bingyi's deep engagement with the cosmic and philosophical dimensions of ancient Chinese thought, and the way these ideas resonate in the contemporary world.

The term Xuanji (璇璣), originating from ancient Chinese astronomy, refers to the two core stars of the Big Dipper. It also signifies the celestial disc or the mechanism behind the rotation of the stars, serving as a model for understanding the movement of the heavens, the order of time, and the laws of the universe. Beyond its astronomical function, Xuanji is also a symbolic and philosophical concept, representing the cosmic order and the interconnectedness of all things. Its structure mirrors that of a palindromic poem, one that reads symmetrically from front to back, from inside out, from form to meaning, embodying the cyclical and ordered nature of the universe.

Opening reception: Saturday, March 14, 2026, from 2 to 6 pm, in the presence of the artist.

Gallery address: 2/F Mai On Ind. Bldg., 17-21 Kung Yip St., Kwai Chung

Pushing the possibilities of urban imagery, Bouie CHOI is interested in giving shape to the perishing impressions of a city through interweaving fragments of memory in her painting. Her creative process is like searching for light under overcast skies. The landscapes she paints often remind us of humanity’s insignificance through juxtaposing the visible and the invisible, the artificial and the natural, the scattered and the gathered, micro and macro beings; their coexistence reflects the artist's state of mind. If a painting is a manifestation of infinite borrowed space and time, Choi attempts to negotiate within the gap between the tangible and the intangible, and indescribable space and time with the light of hope and the power of urban imagery. In recent years, Choi has familiarised herself with wood and explores the definition of freedom with multi-perspective and layered temporalities, imbuing the material with her state of mind through the repetitive processes of preserving, sanding, washing, and sprinkling.

Curated by Joyce Hei-ting Wong

Opening reception: 14 March, 2-6pm

2/F, East 17, No. 17 Main Street East, Shau Kei Wan

Para Site is pleased to launch its thirtieth-anniversary programmes with ‘Site-seeing’, anexhibition that revisits and responds to the institution’s foundational 1996 exhibition of the same name, on view from 14 March to 14 June 2026. Re-engaging with its core questions, ‘Site-seeing’ explores how urban space, memory, and art-making have evolved within today’s global cities.

The exhibition brings together nine artists and artist groups from the Asia Pacific regionand beyond, including Tolia Astakhishvili (b. 1974, Tbilisi), Heman Chong (b. 1977, Muar), Covey Gong (b. 1994, Changsha), Ko Sin Tung (b. 1987, Hong Kong), NawinNuthong (b. 1993, Bangkok), Anna Sew Hoy (b. 1976, Auckland), Bo Wang and Lu Pan (based in Amsterdam and Hong Kong), Tianyi Zheng (b. 1995, Wuhan), and Stella Zhong(b. 1993, Shenzhen).

Through commissioned and recent works spanning installations, moving images, andsculptures, ‘Site-seeing’ expands upon the original exhibition’s conceptual investigations. Featuring a generation of artists born between the 1970s and 1990s, their workscollectively address the complexities of near-constant redevelopment that define much of contemporary urban life. By placing Hong Kong in dialogue with neighboring and distant cities, the works probe into the myriad of public and private interests that drive urban change, staging the city as a space shaped by regulation and alienation. Simultaneously, however, many of the works attend to the moments of wonder, humor, and meaning that persist within the cracks of the built environment.

Sat 14 Mar 2026, 3-6 pm

22/F, Wing Wah Industrial Bldg.
, 677 King’s Road
, Quarry Bay

Alisan Fine Arts is honoured to present our second solo exhibition of Fang Zhaoling (1914–2006), one of the most important female artists of the 20th century, as a key exhibition celebrating the gallery’s 45th anniversary this year. Deeply rooted in ink painting, Fang studied under Zhang Daqian (1899-1983), a towering master of modern ink art, and also apprenticed with Zhao Shao-ang (1905-1998), a leading representative of the second generation of the Lingnan School. Inspired by these predecessors, Fang developed a highly individual freehand language—approaching Abstract Expressionism in its vigour—across a wide range of subjects.

The exhibition presens over 20 works from the height of Fang’s career (1970s–1990s), including landscapes, bird-and-flower paintings, figures, animals and calligraphy, most being shown for the first time.

Opening reception: Monday March 16, 5-7pm

Gallery address: 21/F, 1 Lyndhurst Terrace, Central

What were you doing at 25?

On the occasion of Asia Art Archive turning 25, this question was posed to four leading contemporary artists across Asia: Ho Tzu Nyen, Tehching Hsieh, Araya Rasdjadarmrearnsook, and Zhang Xiaogang. For At 25, they reflect on their artistic origins. Drawing on research into their works, archives, and diverse historical contexts, the exhibition recreates specific moments in time, using them as anchor points in the broader narrative of art history.

Venue address: 11/F, Hollywood Centre, 233 Hollywood Road, Sheung Wan

The Peninsula Hotels launches ‘Art in Resonance’ 2026 with a new exhibition at its flagship Hong Kong property. For its latest iteration, the programme will feature commissioned works by Hong Kong contemporary artist Angel Hui, Tokyo-based Indonesian artist Albert Yonathan Setyawan in partnership with the Victoria and Albert Museum (V&A), and Hong Kong architect-artist Dr. William Lim in partnership with Tai Ping.

Since 2019, The Peninsula Hotels’ commission-based ‘Art in Resonance’ programme has spotlighted the work of important emerging and mid-career artists. By providing funding, curatorial support, and exhibition space, ‘Art in Resonance’ allows artists to produce significant new public artworks, while simultaneously offering deeply immersive art experiences to Peninsula guests, visitors, and local communities alike.

Double Q is delighted to announce Luca Sára Rózsa's second solo exhibition at the gallery, scheduled to open in March during Art Basel Hong Kong 2026.

Luca Sára Rózsa (b. 1990, Hungary) analyses the complex relationship between mankind and his environment. Her figures, taken from the Bible and mythology, are often shown in a natural setting in line with the representational portraiture of the Renaissance and the baroque. Placed within a utopian, dreamlike landscape of solitude, her figures are forced to face their own anxieties stemming from the eternity of the world. As the artist describes it, “The figures in my paintings are mammals who have eaten from the Tree of Knowledge and have been expelled from Paradise. They are fully exposed to their fate, facing it either with resignation or hope.”

Opening Reception: 18 March, 6:00 pm – 8:00 pm

Gallery address: 68 Lok Ku Road, Sheung Wan

The inaugural exhibition, Cian Dayrit: A Country, A Body, marks the Filipino artist’s first solo show in Hong Kong. Dayrit’s practice is at its core community focused, and opens the conversation between Cheng-Lan’s Corner and Hong Kong’s public through the exploration of themes of land, power and identity that resonate deeply with the city's own history.

One of the most incisive voices of his generation, Manila-based artist Cian Dayrit takes the Philippines as a lens to examine the systematic control entrenched in our built environment. This presentation brings together a focused selection of recent works that fuses anthropology and speculative storytelling to examine the legacies of colonialism, land extraction and the transfer of power through textiles, paintings, drawings and sculpture. Drawing on archival research and collaborations with rural and Indigenous communities, his works incorporate historical maps, military iconography, botanical imagery and vernacular materials to explore histories of displacement, labour and resistance.

Opening reception: 24 March, 6:30-8pm

Gallery address: 3 Princes Terrace, Mid-Levels

Hong Kong artist Chan Wai-lap presents a new solo exhibition at Oi!, continuing his 'Swimming' series to construct an immersive bathhouse installation that blurs the line between reality and imagination. Drawing inspiration from bathing cultures across time and places, the artist reinterprets these influences into a contemporary version unique to Hong Kong. By subtly dissolving the boundaries between public and private, the exhibition explores the bathhouse, one that embodies the purification of both body and mind, while reflecting the multifaceted meanings of self-discovery and social connection, offering an immersive reflection on space, culture, and perception.

Venue address: Oi! Glassie, 12 Oil Street, North Point

Kwai Fung Hin is pleased to present the Solo Exhibition of Oswaldo Vigas: Curtain Call, which brings its focus on the Venezuelan modern master’s hybrid figures, particularly from his transformative “childlike period” that saw the artist conjure an entirely new universe of magical theatre. Populating the stage is a cast of highly inventive, polymorphic “actors”, whose shifting forms challenge cultural boundaries and one-sided reading of the world.

Curtain Call stages another climactic chapter in Vigas’s life, an “encore” moment following more than forty years of successful career. Presented alongside are works spanning his early to mature periods, offering a view into the culmination of his life's work, an ongoing process of questioning and reimagining the world through the living myths of his homeland.

Gallery address: 9/F, Entertainment Building, 30 Queen's Road Central

Taikoo Place unveils its headline programme, “ArtisTree Selects: Imagination Investments” by globally celebrated artist Coco Capitán, as part of Swire Properties Arts Month coinciding with Art Basel Hong Kong. Running from 19 March to 26 April 2026, the exhibition takes place at ArtisTree and across Taikoo Place. Conceived as a three-part installation, the exhibition reflects on the themes of memory, longing and connection, offering an evocative dialogue between contemporary art and urban culture.

Born in Seville, Spain and currently based in London, UK, Coco Capitán has emerged as one of the most influential artists of her generation, traversing the worlds of art, photography and fashion. Internationally recognised for her analogue photography and distinctive voice, all her works famously incorporate elements of her idiosyncratic handwritten texts. These texts are often infused with an acute sense of humour tempered by melancholy, and have received sustained critical attention over the past decade. Her work has been presented by leading institutions worldwide and embraced through collaborations with some of the world’s most prominent fashion houses.

Venue address: Tai Koo Place

Chinese contemporary multi-disciplinary artist Zheng Jing presents a series of site-specific installations at Oi! that integrate art, science and spatial poetics into an immersive experience. The exhibition highlights the artist's distinctive visual language through various elemental media such as water, sound, air and light, inviting visitors into a unique multi-sensory realm at Oi! and encouraging them to rediscover the purpose of art in public space and its relationship to the environment.

Date: 19.3.2026 — 11.10.2026
Venue: Oi! Warehouse 1 & 2, Oi! Study, Oi! Lawn, 12 Oil Street, North Point

Liu Ying sees existence as energy. The body is not clay, moulded and left to harden. It is a river of light, forever flowing. Bones are pathways of energy; skin is the threshold of vibration while breath is the rhythm of the universe moving through us. When Liu Ying paints, she does not simply depict the human figure but renders the universes within.

As a woman who paints, she knows what the body says without words. Internal physical sensations, visceral scars of time and the flow of vital life force exist, and her paintings become the testimony of those invisible existences. Her explosive strokes and powerful impasto trace the pathways of breath and record the rhythm of heartbeats. The nude depicted becomes the echo chamber of the soul. The curve of a spine harbours a lifetime of struggle while the gesture of hands carries unspoken desire.

For Liu Ying, this is how energy becomes visible. What has no form takes shape on the canvas; what cannot be seen manifests itself from colours. When we are looking at her work, we are following the path of energy, connecting us with something deeper. Her paintings are the vibrations of life incarnate.
Opening reception: 19 March, 4-8pm

Gallery address: G/F, 46 Sai Street, Sheung Wan

Vietnamese-American artist Dinh Q. Lê was a distinguished artist in photography, film and installation and is considered one of Vietnam's most significant contemporary artists. His practice challenges how our memories are recalled and how society archives the evidence of human suffering. Lê's work elucidates his commitment to the artistic process as a means of excavating history and the uncovering and revealing of alternate ideas of loss and redemption. As a child of the war and a migrant to the USA, his work was shaped by the lens of finding his identity through his individual and his country’s collective experience. Lê returned to Vietnam in 1993 and stayed until the sudden end of his life in 2024. Lê’s series of photo-weavings was initiated by his search of his real and imagined memories of the Vietnam war. His complex tapestries intertwine Vietnam movie images, found photographs and Buddhist icons to weave together his personal memories and how the war was perceived by the outside. His works have been exhibited at and/or collected by institutions worldwide including the MoMA, the Tate Modern, The Mori Museum, The Carnegie International, the Venice Biennale, the San Francisco MoMa, the Los Angeles County Museum of Art, the San Jose Museum of Art and M+ in Hong Kong, among many others. 

Opening reception: 19 March, Thursday, 4 – 6:30 pm

Gallery address: 1G/F, 10 Chancery Lane, Central

As the 2026 Hong Kong Art Month anticipates, 3812 Gallery is pleased to present “The Ascent: 15 Years of 3812 Gallery – Anniversary Exhibition”, inviting audiences to witness this milestone when we celebrate the gallery’s 15th anniversary.

Fifteen years ago, co-founders Calvin Hui and Mark Peaker embarked on a journey inspired by the Aiguille du Midi ridge (3,812 m) in Chamonix—a symbol of new horizons and the courage to face challenges.

 "The Ascent: 15 Years of 3812 Gallery – Anniversary Exhibition" embodies two guiding principles: continuous striving (ascent) and the transformative power of change. We are thrilled to present works from 12 artists across generations, each piece reflecting the artists' journeys of adaptation and reinvention, weaving a rich narrative of human creativity.

Opening Reception: Thursday, 19 March at 6 - 8pm.

Gallery address: 26/F, Wyndham Place, 44 Wyndham Street, Central

In an era saturated with digital noise and the constant circulation of information, JPS Gallery Hong Kong presents “FILTER: Reconstructing the Unseen,” the first overseas solo exhibition by emerging Japanese artist Marino Funahashi. Rooted in her ongoing exploration of memory, time, and the natural world, Marino’s paintings turn the quiet, often solitary act of remembering into an immersive, sensory experience.

At the heart of this evocative exhibition is the idea of filtration—the subtle reconstruction of experiences and impressions that have slipped from view. Drawing on her interest in how lived experiences are sifted, edited, and reshaped over time, Marino creates paintings that function as both quiet meditations and dynamic visual essays on the ambiguities of memory. Rather than depicting nature directly, she seeks to restore a more primal, “natural state” of perception, where sensations are felt before they are named. Memory appears not as a single, frozen scene but as a shimmering accumulation of overlapping time.

Opening reception: Thursday, March 19, 5:00 PM – 8:00 PM (Artist will be in attendance) 

Gallery address: G/F, 88-90 Staunton Street, Central

Square Street Gallery is pleased to present ‘HEX STATE SERVER,’ Brandon Tay’s first solo exhibition in Hong Kong, curated by Institution of Niche and Rafi Abdullah. At the core of ‘HEX STATE SERVER’ is the interplay between individual agency and destiny, drawing parallels between Chinese divination and computation to probe the relationship between randomness and fate. Visitors participate in a collaborative, asynchronous fortune-telling session through an interactive sculpture connecting them to the HEX STATE SERVER—an oracle simulation operating through I-Ching logic. Surrounding the exhibition, PHANTOM INDEX unfolds as a speculative timeline mapping Chinese thought from historical to speculative futures. Through these layered frameworks, Tay investigates Chinese cosmotechnics and the fundamental overlap between chance and destiny.

Opening reception: 19 March (THU) 6–9pm, performance at 7pm

Gallery address: 21 Square Street, Sheung Wan

Celebrating the arrival of the Year of the Horse in 2026, this exhibition explores horse-themed paintings in Chinese art by considering imperial and literati practices, the relationship between tradition and modernity, and the dialogue between Chinese and Western painting styles. The exhibition, drawing mainly on the Palace Museum collection and enriched by loans from the Hong Kong Museum of Art, the Art Museum of the Chinese University of Hong Kong, and the Hong Kong Palace Museum, will display nearly 100 horse-themed paintings by more than 60 renowned artists from the Yuan dynasty up to the 20th century.

Venue: Gallery 4, Hong Kong Palace Museum

Hong Kong art reflects the city’s unique position as a cultural crossroads, synthesising Chinese traditions and Western influences into distinctive artistic vocabularies and aesthetics. As a flagship Hong Kong art event of “Art March”, “Live: Hong Kong Art Exhibition” brings together 19 artists who are actively shaping the city’s contemporary art scene, ranging from established masters to rising stars. Their works are often deeply rooted in local contexts, reflecting Hong Kong’s unique urban landscape, rhythm of life and cultural sensibilities. Central to many of their practices are cross‑media transformation and experimentation. Through multifaceted artistic languages, familiar forms are reimagined into contemporary expressions—paintings that resonate with light and shadow, ink interwoven with digital media, and traditional crafts that collide with innovative ideas—sparking an aesthetic uniquely tied to this time and place.

Participating Artists: Chu Hing-wah, Angela Yuen, Inkgo Lam, Ross Yau, Hung Keung, Leung Mee-ping, Joseph Chan, Chan Wai-lap, Chan Kwan-lok, Jess Leung, Raymond Fung, Wong Hau-kwei, anothermountainman (Wong Ping-pui, Stanley), Wong Chung-yu, Wong Chun-hei, Wong Lai-ching, Fiona, Hung Hoi, Hung Fai, Law Yuk-mui

Venue: G/F, 2/F, Hong Kong Art Gallery and Lobby, 10 Salisbury Road, Tsim Sha Tsui

gdm Hong Kong is pleased to present Chen Hui-Chiao: Under One Sky, the artist’s debut solo exhibition in Hong Kong. Under One Sky traces the trajectory of Chen’s creative practice, spanning the early installation work Amorphous Company (1997), through the sprawling spatial intervention A Room with a View (2018), to newly unveiled works including: When the Spheres Merge in Colors for a Large Wall… (2024), Airco DH-4 1916-1918 (2025), and Starlink (2025). Employing needles and thread, cotton, ping-pong balls, and LED as vehicles of thought, Chen stitches aviation military symbols into everyday objects, probing how humankind has transformed the sky into a battlefield.

Opening Reception: 20 March, 16:00–19:00
Artist Tour: 26 March, 10:30

Gallery address: 108 Ruttonjee Centre, 11 Duddell Street, Central

One of the central values of contemporary art resides in its capacity to reflect upon and respond to the conditions of our existential environment. In our current era, material production under the logic of capitalism does more than merely shape the form of social commodities; it permeates human temporal perception and existential awareness, tethering the experience of living to concepts of consumption, labor, and utility.

The exhibition Infinitesimal Time, Monumental Matter: Scales of Existence takes the concepts of "matter" and "time" as its point of departure. Featuring nine artists from diverse cultural backgrounds, the exhibition unfolds across three distinct yet interconnected chapters, presenting a visual discourse on the essence of being. From the consumerist surface of material production to the reshaping of existence through repetitive labor and temporal homogeneity, the journey ultimately leads toward the possibility of nature as an alternative scale of existence. Through the dialectic between "infinitesimal time" (fragmented individual time) and "monumental matter" (material carriers imbued with meaning), the exhibition re-examines the values and boundaries of human existence.

Mary Corse | Peter Dreher | He Xiangyu | Hsieh Tehching | Lalan | Roni Horn | On Kawara | Alicja Kwade | Kayode Ojo | Tomas Saraceno | Zao Wou-Ki

Opening reception: March 25, 3 pm – 7 pm

Gallery address: Unit 1902, Winsome House, 73 Wyndham Street, Central

Paper cuttings have long fascinated viewers with their expressive storytelling and extraordinary precision. For the first time, Swiss paper cuttings from the Wyss Collection (Unterseen, Bern) are being juxtaposed with Chinese paper cuttings from the collection of the University Museum and Art Gallery, The University of Hong Kong, along with works from the Guangling Paper Cutting Art Museum and the Jieyiyuan Paper Cutting Art Center, Pingyao, both located in Shanxi province. The aim of the exhibition is to highlight the diversity and distinctive cultural identities of this fascinating art form. In 2009, Chinese paper cutting was added to UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. To highlight the significance of this craft spanning both cultures, two parallel exhibitions will be held in spring 2026, at the University Museum and Art Gallery and the Kunsthaus Interlaken (22 February–17 May 2026).

Swiss paper cuttings are primarily narrative works. From the mid-19th century onwards, they replaced the popular shadow pictures known as silhouettes, with a particular focus on Alpine life. Swiss paper cuttings function as condensed narrative microcosms, each distinguished by striking and subtle variations in their repertoire of figures, forms, and designs. Cut from black paper and arranged largely symmetrically, Swiss paper cuttings feature a wealth of ornamentation and an incredible density of detail that invites viewers to discover and linger. Thanks to the cooperation of the Wyss Collection this exhibition will feature works by pioneers such as Johann Jakob Hauswirth and Louis Saugy; traditional cuttings by David Regez and Christian Schwizgebel; and contemporary constructions from Ueli Hofer, Martha Kneusslin, Nelly Naef, Ernst Oppliger, Bruno Weber, and others.

Venue address: 1/F, T. T. Tsui Building, UMAG, HKU, 90 Bonham Road, Pokfulam

JPS Gallery is proud to present "Cartography of Smoke", a mini showcase by Tokyo-based artist Takeshi Ikeda, hosted at Kinsman. In this profound new exhibition, Takeshi visualises the invisible structures that lie beneath the surface of luxury—the unspoken layers of history, global trade, bodily labour, and cultural memory.

Unearthing the Architecture of Value

Throughout "Cartography of Smoke", Takeshi presents a cohesive and layered exploration of how value is constructed, dismantled, and reborn over time. He invites viewers to observe the cyclical nature of history and poses a compelling question: "Where does the origin of the value we unconsciously believe in truly reside?" He maps the genealogy of value—from the emergence of global exchange and the shadows of colonialism dating back to 1492, to the institutionalisation of modern brands. By elevating these fragmented histories into altars of "cultural gravity," Takeshi shows that a "brand" is never a fixed icon but a dynamic, continuously emerging phenomenon born of countless memories.

Venue address: 65 Peel St, Central

Art of Nature Contemporary presents “Where Roots Grow”, solo exhibition by Wu Guanzhen, on view from March 20 to April 30, 2026.

For Wu Guanzhen, creation returns the body to mountains, water’s breath, and wind’s whisper; renewing his bond with the shaping land. Water’s ripple, forest hush, and lacquer’s slow time hold memories of place and feeling.“Where Roots Grow” embodies a rhythm of slow growth, a tender bond between the artist, the earth, and the quiet pulse of life unfolding through time.

Opening Reception: 20 March, 2026, 5:00 – 8:00 PM

Gallery address: 2/F, New World Tower II, 18 Queen's Road, Central

CERTAINLY takes inspiration from artist-composer La Monte Young’s seminal 1960 instructional work Composition 1960 #10, a score that consists of a single directive: “Draw a straight line and follow it.” What appears deceptively simple quickly reveals itself as more complicated — the line wavers, resists, and deviates, becoming a potent metaphor for creativity, decision-making, and the unpredictable forces that shape us.

In CERTAINLY, this conundrum becomes a catalyst for artistic experimentation, negotiating the space between control and freedom, planning and improvisation. The exhibition brings together a diverse group of artists whose practices respond, directly and obliquely, to this condition of uncertainty, embracing deviation as a generative force rather than a failure of control.

Participating artists include Tozer Pak Sheung Chuen (Hong Kong), Lousy (Hong Kong), Young-Hae Chang Heavy Industries (Korea/US), Santiago Sierra (Mexico), Shinro Ohtake (Japan), Peter Robinson (New Zealand), and Weng Io Wong (Macao), among others. Across different media and approaches, each artist reflects on the impossibility of perfect predictions — and the creative space that emerges when systems, structures, and expectations begin to fracture.

Venue address: G/F Remex Centre, Wong Chuk Hang Road

There’s an unmistakable pull when Sin Sin discovered the striking black & white photography works by Jay Khan. The way he framed what’s out there to bring forth the delicate details, the angle he maneuvered, the contrast and balance he mixed. All the more fascinating that Jay’s official profession is actually Head Mixologist of COA, the groundbreaking cocktail bar in Hong Kong that he co-founded, which consistently named to the Asia’s Best Bars list.

Inspired by the geometric poetry of Fan Ho and the nocturnal intimacy of Brassaï, Jay is able to find the still and tranquil moments in the chaotic scenes of Hong Kong: Like a fisherman standing and waiting quietly on the street, he watches the flow of light and shadow, lingering in the city’s movement to capture the ephemeral beauty of real.

Opening Reception: Friday, 20 March 2026, 6 — 9pm

Gallery address: Unit A, 4/F., Kin Teck Industrial Building, Wong Chuk Hang

Grieve the Departed Wound is a performative milieu where the boundary between spectator and performer dissolves. Within this environment of movement-making and memory-retrieval, visitors are invited to drift through the physical and conceptual debris of performance, becoming part of the very entanglement they came to witness.

Through a lens of liminality, the exhibition seeks a rhythmic relationship between the scenography of Serafin’s two projects: "Cosmological Gangbang" and "Lost Ancestors". Using the material agency of reconstructed installations, videos, and paintings infused with the artist’s physical traces and past performances, the gallery is transformed into a vessel. It reconfigures the agency of darkness, stillness, body, and time, turning objects into witnesses

Opening reception: Friday, March 20, 6-9pm

Venue address: 380 Nathan Road, Jordan

This March, coinciding with Art Basel Hong Kong 2026, Art Intelligence Global is pleased to present “THE UNCANNY” at our Hong Kong gallery.

Bringing together significant works by Yayoi Kusama, Robert Gober, Louise Bourgeois, among others, the exhibition examines how artists have engaged with the psychological concept of the uncanny. Through distortions of the body, the domestic sphere, and technology, these works dislocate the familiar to reveal submerged memories, desires, and anxieties.

Opening Reception: March 24, 2026 | 5PM – 8PM

Gallery address: 1st Floor, TS Tower, 43 Heung Yip Road Wong Chuk Hang

A group exhibition of 9 Italian and HK artists, curated by Giulia Pollicita and Eunice Tsang
Tap Chan, Adele Dipasquale, Roberto Fassone, Adam Harrison, Ocean Leung, Jennie MaryTai Liu, Simon Liu, Michela de Mattei, Sara Ravelli

When speech is mistranslated, restricted, or simply fails, what other alphabets remain? Between Italy and Hong Kong—where languages, histories, and governing systems diverge—our exhibition proposes play as a shared, subversive alphabet.

Neither innocent nor trivial, play here becomes a strategic act. The artists turn to games, glitches, and improvised rules to articulate what cannot be said. Within their worlds, prevailing rules are suspended, roles dissolve, and hierarchies are reconfigured. Between docility and insubordination, play emerges as a magical gesture: an agent of both disorder and reorder.

Opening reception: 21.3 | 4-8pm

Gallery address: 3F Remex Centre, 12 Heung Yip Road, Wong Chuk Hang

How can we learn to nurture sensibility? How do we care for each other and bear sorrow together? How might we begin to heal ourselves and the world around us? In a time of rapid change, this exhibition invites you to slow down, engage with the work of 14 artists from across Asia, and turn inwards.

Textiles have always been inseparable from our spiritual life. They appear in rituals and ceremonies, accompanying people through the cycles of life and death, joy and sorrow, parting and reunion. They also move with us every day, gently connecting our inner world and the spaces we inhabit. Passed from generation to generation, the acts of weaving, dyeing and stitching form a tactile language of memory, emotion, belief and imagination – both personal and collective.

Here, we explore textiles as living pathways that intertwine into spiritual maps. They weave threads between people and place, ancestors and ecologies, the visible and the unseen, softness and strength, while opening up futures and possibilities of living, relating, and caring for the world.

Curators: WANG Weiwei, Eugene Hannah PARK, KUROSAWA Seiha, WANG Huan

Venue address: 2/F, The Mills, 45 Pak Tin Par Street, Tsuen Wan

DEVEDO is pleased to present Chinese artist Siqi Qin's first solo exhibition in Hong Kong, featuring two of her iconic series: the Human Aesthetics and Flowers.

Human Aesthetics was inspired by Robert Mapplethorpe. Siqi portrays the body's ultimate beauty—sometimes sculptural and still, other times dynamic and fluid. Her refined approach to composition and light recalls the classic nudes of Bill Brandt and Edward Weston.

Flowers focus on blooms such as roses and anthuriums, which quietly bloom within the exhibition space. Her sensitive mastery of composition achieves a balance between restraint and tenderness, presenting a poetic vision of nature's beauty. Inspired by Georgia O'Keeffe and photographer Nobuyoshi Araki, Siqi brings together floristry and photography to construct a narrative of emotion that is both gentle and charged with tension.

Time: 2-7 pm (Wednesday-Saturday, By Appointment)
Venue: 6J, Block 2, Kingley Industrial Building, 33 Yip Kan Street, Wong Chuk Hang

The Hong Kong Arts Development Council (HKADC) announces its latest exhibition, The Lurking Void, at its distinctive multi-functional space, the SHOWCASE. Harnessing the full scale of the venue, the exhibition envelops audiences in colossal, site-specific installations, brought to life through unsettling sound and motion. Office equipment – printers, desks, cables, and scanners – transform into creature-like entities and landscapes, portraying a white‑collar world where AI does not replace humans but alters the nature of work, leaving people neither erased nor in control, but instead deeply entangled.

The Lurking Void is a psychological portrait of contemporary office labour shaped by the growing presence of artificial intelligence. Rather than framing AI as a force that simply replaces human workers, the project reflects on how work, identity and value are being reconfigured as humans and machines increasingly operate together. In this environment, the boundary between human and machine grows blurry and fluid, no longer a clean divide but an evolving field of negotiation. Through its installations, the exhibition responds to this complex symbiotic relationship, inviting visitors to consider what it means to be human in the “Post-Human Era”. The works are by award-winning Hong Kong artist Phoebe Hui, whose multidisciplinary practice spanning robotics, kinetic sculpture, generative art, sound, comics and drawing, gives this collective condition immersive form.

Venue address: HKADC SHOWCASE, UG/F Landmark South, Wong Chuk Hang

"Beyond the Ordinary – Contemporary Book Art" is Print Art Contemporary’s thematic exhibition for 2026. Through the career stories of eight retired professional master printers, the exhibition introduces movable-type printing, an official part of Hong Kong’s Intangible Cultural Heritage, and foregrounds the four major processes of typesetting, printing, cutting and binding. The exhibition also explores how the concept of the book in contemporary art can transcend the formal constraints of binding and paper and encompass a range of media. Visual artists Lau Ka-chun, Li Xiao-qiao, Percy So and Dana Shek, as well as writers Wong Yi and Nicholas Wong, and stage lighting designer Lau Ming-hang, use their works to examine the current state of linguistic and textual dysfunction and reimagine the role of the printed text alongside the growing influence of AI.

Venue address: SG03-07, G/F, Block A, PMQ, 35 Aberdeen Street, Central

Growing up in the United States and Europe, and currently living and working in China, Etsu Egami experienced various communication barriers she encountered as a result of her cross-cultural residence. She felt that languages can “only be sensed, not explained”, thus becoming more interested in the discipline of language and communication. Etsu’s works are comprised of various mediums, such as voice, video, and drawings, through which she strives to question human instincts and the authenticity of communication. Estu’s perceptive contemporary pieces have led her to receive high praise from the art sector. Curator of Pompidou art centre Julie Jones describes Egami as an artist who “sees all these specificities as a source, not only of misunderstanding but also of creation and richness in people’s relationships.” Chinese curator Feng Bo Yi also summarized Etsu’s creation as being “about the concept and the significance of ‘communication’. Through the paintings and videos which embody these mishearing games, as well as the evolution of times, the clashes between civilisations, we acquire a discourse on the barriers in language communications, and subsequently even trigger a crisis.”

Gallery address: 20/F, Landmark South, 39 Yip Kan Street, Wong Chuk Hang

wamono art will present SIDE CORE’s “under city” in Hong Kong for the first time.

SIDE CORE is a Tokyo-based art collective active since 2012. Members Sakie Takasu, Tohru Matsushita, and Taishi Nishihiro work with video director Kazunori Harimoto. Grounded in the ideas and histories of street culture, SIDE CORE’s practice asks how individuals can communicate—and leave traces—in urban and public space. Their projects often involve collaborators from other fields, resulting in works that emerge from the city’s blind spots, gaps, and overlooked infrastructures.

The exhibition’s central theme is “urban underground spaces.” For “under city,” SIDE CORE filmed rarely accessible sites such as massive underground reservoirs, disused water treatment facilities, and abandoned subway stations. While recent technological advances have made cities increasingly digitized and “visible,” many subterranean environments remain unknown or difficult to grasp. The work follows skaters moving through these underground spaces, then edits the footage into a continuous sequence—stitching separate locations into a single “virtual underground city.” The project brings together multiple lenses: skateboarding as a way of reading Tokyo’s underground, alongside geology and disaster preparedness, technology and urban theory, as well as urban legends and fiction. Japanese street skater Takahiro Morita participates through skate video production company “FESN”, performing in the work and directing skate sequences.

Gallery address: Unit A, 10/F, Derrick Industrial Building, Wong Chuk Hang Road

What is it like to live, sense, and feel as a mushroom? Over the past year, Zheng Mahler conducted extensive research on their local home island of Lantau, and encountered thirty-eight distinct species of mushrooms. After photographing and compiling their findings, they produced a unique dataset and fed it into a custom AI model — critiquing and simultaneously expanding AI's dearth of knowledge around mushrooms in connection with the Western world's fear of fungi, and to generate new, speculative mushroom species. The project likens the rhizomatic and seemingly infinitely generative nature of mushrooms to emergent AI systems and posits we understand each through the other. At the same time, it invites us to consider our preoccupations with generative qualities of 'fruiting bodies' and consider the responsive, cultivating qualities of 'network' inputs.

For their solo show at PHD Group, “Mushroom Clouds,” Zheng Mahler will build a large-scale living, breathing terrarium which simulates the biodiverse ecosystems on Lantau Island, complete with plants and fungi. Within this terrarium, a dense cloud of fog occasionally forms as a reaction to systems of water, heat, and growth, in which projections of AI-hallucinated mushrooms appear, creating a ghostly display of Lantau fungi. A series of drawings of a number of fungi species found on Lantau and used in the AI dataset appears around the gallery space for visitors to similarly encounter and be guided through this immersive, unpredictable and expansive exhibition.

Opening: 21 March 1-7pm

Axel Vervoordt Gallery is pleased to present Asteroid J-734, a solo exhibition by Jaffa Lam at its Hong Kong space. Following her recent participation in the Shanghai Biennale, this presentation expands the artist’s longstanding engagement with material, community, and storytelling. Bringing together new works developed across a range of mediums—including ceramics shaped during her residency in Longquan, China, as well as ongoing fabric and window installations—Asteroid J-734 forms an interconnected constellation of materials and forms that move fluidly between the monumental and the intimate. In this new body of work, Lam invites viewers into a world both deeply personal and profoundly connected to the environments and people that surround her.

Opening March 21st

Gallery address: 21/F, Coda Designer Centre, Wong Chuk Hang

‘Receding Scenery’ describes a familiar physical experience: as a vehicle moves forward, the scenery outside appears to drift backward. Rather than nostalgia, Hazel WONG Mei Yin’s works grow from this shifting perspective, reflecting the uncertainty, thoughts, and emotions of being in transit.

Wong’s practice is shaped by her recent life between Sapporo and Hong Kong. Long hours spent travelling—as both passenger and driver—have turned the interior of the vehicle into a space for quiet observation. Frequent relocation has made movement central to her work. While the landscapes she paints refer to real places, they also carry personal memory and feeling, revealing her ongoing interest in distance, time, and human connection.

Saturday, 21 March 2025, 2 – 5pm

Gallery address: 3/F, 25 Hing Wo Street, Tin Wan, Aberdeen

In this new body of work, Dony CHENG Hung deepens her ongoing inquiry into urban existence, perception, and temporality.Cheng reflects on the shift from a past in which time was non-uniform, repeatedly reactivated through ritual and architecture, to a present dominated by speed, measurement, and constant management. This exploration is inspired by her current reading of Mircea Eliade's "Traité d'histoire des religions" and Paul Virilio's "L'Esthétique de la disparition". Her earlier investigations into the dialogue between artificial and natural light, along with latent rituals that reconnect us to nature within everyday routines, now converge into a visual language centered on the objectification of present-day temporality.

Saturday, 21 March 2025, 2 – 5pm

Gallery address: 13/F, 25 Hing Wo Street, Tin Wan, Aberdeen

MAYAO is pleased to announce ZHU Tao’s solo exhibition 《20260321》. Join us at the opening reception from 4:30 - 6:30 PM on 21 March, to regain the original purpose of ‘arriving’ in an era increasingly marked by disorientation. Below is an excerpt by the curator:

One afternoon in December 2025, I visited Zhu Tao and had the privilege of seeing all of his manuscripts. I remember sitting in his study that day, looking through them one by one. Time seemed to freeze at a certain moment that afternoon. My body was in a small village somewhere in Tai Mei Tuk, Hong Kong, and the sky outside gradually darkened. Yet those vivid images carried me to different places. These images are the footprints of Zhu Tao.

We chose the exhibition opening date—20260321—as the title of the exhibition, to represent the number of steps he has taken. These steps are not empty data; they are the traces of a person using his own body to experience different spaces and landscapes. In Zhu Tao’s manuscripts, what I see is not merely scenery, but cities with different temperaments and atmospheres. One feels present within them. I can almost smell those places: Venice soaked in sunlight, rain-drenched Kyoto, the wind-blown landscapes of Qinghai beneath a blazing sun, and Greece where the air carries the salt of the sea and the wind is filled with its scent.

CURATOR: Lí WEI

Opening reception: 4:30 - 6:30 PM, 21 Mar, Saturday

Gallery address: 10/F, Derrick Industrial Building, Wong Chuk Hang

A new body of paintings by Fares THABET, the celebrated Tunisian artist whose ethereal landscapes have captured the transformative light and chromatic intensity of North Africa. Working from his studio in the bay of Tunis, Thabet continues to explore the intersection of observation and imagination, creating compositions that transcend geographical specificity while remaining rooted in Mediterranean luminosity.

Thabet's recent paintings present scenes of paradoxical complexity and serenity—works where sandy beaches blush rose-pink, seas dissolve into turquoise-green gradients, and skies transform into tangerine orange at dusk. These tranquil environments exist primarily in imagination yet bear traces of human habitation, occasionally revealing lone figures, drifting boats, or entire abandoned cities merging seamlessly with their surroundings.

Saturday, 21 March 2025, 2 – 5pm

Gallery address: 13/F, 25 Hing Wo Street, Tin Wan, Aberdeen

WKM Gallery is pleased to present “HKG-TYO 1974-2023,” a solo exhibition by Canadian photographer Greg Girard (b. 1955, Canada). Known for his intimate, cinematic documentation of the social and physical transformations in major East Asian cities over the past four decades, the current exhibition juxtaposes two of Girard’s second homes, Hong Kong and Tokyo, during their respective eras of industrialization and growth.

Guided by an undying investigative curiosity and appreciation of the overlooked, Girard’s lush, enchanting, and at times melancholy compositions offer a point of access to the euphoria and growing pains that eventually came to shape Hong Kong and Tokyo as we know them today, becoming time capsules that point simultaneously toward the present and the future.

21 March 2026 | 4 - 8 pm

Meet the Artist
21 March 2026 | 6 - 7 pm
24 March 2026 | 7 - 8 pm

Gallery address: 20/F, Coda Designer Centre, Wong Chuk Hang

When Antenna Space celebrated a tenth anniversary just a couple short years ago, the world was in a weirdly fragmented state. We called the exhibition “Horizons,” after the hypothetical event horizon of an expanding cosmos, the place from which no signal could ever be received; we speculated that hope was our lone defense against the impossible—a protest against the infinite.

Today, the world remains fragmented, perhaps even more so than it was in those strange, post-pandemic days, when travel was again possible but the urge to connect felt like a distant memory. We see our technical networks breaking into closed circuits, China building and exporting a global alternative, Europe planning its own civic social networks, the United States a chaotic morass held together by the thin glue of fascism and artificial intelligence. For the first time in living memory, we are living in a truly multipolar world.

Artists: Xinyi Cheng, Cui Jie, Guillaume Dénervaud, Daniel Dewar & Grégory Gicquel, Owen Fu, Covey Gong, Guan Xiao, Han Bing, Hongyan, Allison Katz, Stanislava Kovalcikova, Mire Lee, Li Ming, Shuang Li, Li Yong Xiang, Nancy Lupo, Peng Zuqiang, Evelyn Taocheng Wang, Yu Honglei, Stella Zhong, Zhou Siwei (alphabetically)

Opening reception: 21 Saturday, 3-7pm

Gallery address: 19/F, 37 Wong Chuk Hang Road

The second chapter of “Us” unfolds in Hong Kong. Where the Berlin edition began within the quieter confines of the domestic interior, this iteration prepares us to step outside. In this intermediate space, we encounter change, the presence of others, the pull of the external, and the charged energies of the city.

Curated by Thom Oosterhof

Artists: Dani McKenzie, Robert Russell, Kevin Yaun, Jonah Gebka, Steffen Kern, Arnaud Adami, Michael Angel, Rachel Lancaster

Opening reception: Saturday, 21 March | 2-7 PM
Gallery address: 2101, Landmark South, Wong Chuk Hang

Foretold by classical feng shui and Asian astrology, this new era marks a cosmic shift from the element of Earth to Fire—symbols of volatility and upheaval—signaling an urgent call to restore water as a vital counterbalance: an agent of care, adaptability, and healing. In this spirit, during Hong Kong Arts Month, PODIUM is delighted to present 'Amour Aquatique'—a group exhibition that pulses with the tensions of presence and absence, attachment and release, drawing viewers into the ebb and flow of aquatic love—at once universal and deeply intimate. Drifting through the protean forms of water as metaphors for the fluidity of love, grief, nostalgia, and memory, this exhibition brings together five artists, including Fran Chang, Omyo Cho, Soyoung Chung, Minouk Lim, and Luis Xertu, whose works are inspired by the continuous cycles of looping, evaporating, pooling, eroding, and flowing, wading into the liminal spaces where personal and political waters entangle.

Opening reception: 21 March, 2:00—7:00 PM

Gallery address: 9/F, E Tat Factory Building, 4 Heung Yip Road, Wong Chuk Hang

Whitestone Gallery is proud to announce the upcoming exhibition, "Resonance: A Collection of Creative Dialogues," featuring an exceptional lineup of contemporary artists whose distinctive styles reflect their recent achievements in the art world. The exhibition will run from 21 March to 9 May 2026, coinciding with the vibrant art season in Hong Kong.

The artists showcased in this exhibition are renowned for their innovative approaches and have garnered notable recognition through various institutional exhibitions, prestigious awards, and commercial collaborations. The participating artists include: Ay-O (b.1931, Japan), Soonik Kwon (b. 1959, Korea), Bao Pei (b.1960, China), Ronald Ventura (b.1973, Philippines), Philip Colbert (b.1979, UK), Julie & Jesse (b.1980, Hong Kong, and b.1975, USA), Jiang Miao (b.1981, China), Kim Deok Han (b.1981, Korea), Dai Ying (b.1983, China), Miwa Komatsu (b.1984, Japan), Kohei Kyomori (b.1985, Japan), Lee Chae (b.1989, Korea), and Chen Yingjie (b.1991, China).

Opening Reception 2026.03.21 (Sat) 3:00 pm - 6:00 pm

Gallery address: 7/F, M Place, Wong Chuk Hang

Lap-See Lam draws on experiences of the Cantonese diaspora, delving into migratory movement, generational loss, speculative history, and the otherization of cultural symbols through video installations, sculptures, and live performances. Her works blend contemporary techniques with traditional storytelling forms and references, taking inspiration from shadow play puppetry and Cantonese opera, as well as the aesthetics of Western Chinese restaurants. Her work creates mythical imaginations of Chinoiserie as defined by imperialist history, while reflecting on her personal family history of migration, to convey the complexities of cultural heritage.

Conversation: Trevor Yeung with Lap-See Lam, moderated by Olivia Chow: 21 March 2026, Saturday, 4pm (conducted in English)

Gallery address: 15/F, Po Chai Industrial Building, Wong Chuk Hang

For the past two decades, the internationally renowned art collective Slavs and Tatars have devoted themselves to a specific regional remit – which they define as ‘east of the former Berlin Wall and west of the Great Wall of China’ – comprising nearly a fifth of the Earth’s landmass. This expansive geography, like the collective’s name itself, serves as a rebuff (if not resistance) to reductive questions of identity plaguing the right and the left across the globe today. Their sculptures, books, installations and lecture performances celebrate a multilingualism and multiconfessionalism that make the otherwise daunting metaphysical inquiry – Who are you? – more joyful, irreverent and, alas, fluid.

For their first solo exhibition in Hong Kong – titled 胡 (هو / who) are you? – Slavs and Tatars bring together works across different media that dance merrily around the idea of being and belonging. The presentation includes newly commissioned works from their Love Me Love Me Not series (2014), which features four cities whose names (and their respective alphabets) have fluctuated according to which empire, nation or ruler they belonged. Concrete sculptures resembling road signs – Not Berlin Not Bukhara and Not Bahamas Not Baghdad – refuse to commit to a given destination. Each work highlights a choice between the spiritual/sacred (Bukhara is known as the fourth-holiest city in Islam after Mecca, Medina and Jerusalem) and the secular (Berlin’s Berghain or the Bahama’s beaches, to start); but the artists choose not to choose.

Gallery address: 11/F, M Place, 54 Wong Chuk Hang Road, Wong Chuk Hang

THE SHOPHOUSE is pleased to present the group exhibition House of Dissociation, featuring eleven artists: Alice Cheng Chau Yung, Chris Oh, Shuo Phoebe Li, Lassi Kontiainen, Shi Zheng, Tang Kwong San, Takuya Otsuki, Tao Siqi, Wang Xingyun, Yu Shuk Pui Bobby, and Yutaka Nozawa, featuring a series of paintings on canvas and paper, video, sculpture, and interactive site-specific installation across the entire gallery building. The exhibition opens on March 21 and runs until May 10.

House of Dissociation posits that identity itself is a permeable architecture, where rooms of memory, emotion, and perception drift apart and reassemble in unexpected configurations.The exhibition invites viewers to navigate, inhabit, or immerse themselves in the fractured layers of the self and the world—to find resonance in the echo between what is held together and what falls away. Here, fragmentation is not a flaw, but a generative principle. The familiar—a chair, a voice, a scene—is rendered unfamiliar, not to alienate, but to reveal the latent possibilities within our own perception. In this era of disintegration, we experience dissociation and the collapse of perceptions. Thereafter, the hope of rediscovering meaning lies not in rigid stability, but in the fluid, adaptive rhythm of a consciousness that learns to dwell within its own multiplicity.
Gallery address: 4 Second Lane, Tai Hang

Ben Brown Fine Arts is pleased to announce Les Lalanne: A Living Landscape, a comprehensive exhibition of the celebrated artistic duo Claude and François-Xavier Lalanne, presented at the gallery’s Hong Kong space in conjunction with Art Basel Hong Kong 2026. Conceived as an imagined garden, the exhibition invites visitors into an immersive environment where art, nature and imagination converge.

The exhibition draws directly from the Lalannes’ environment. Their home in Ury, France, was a place of constant activity, where family life, animals and craftsmen shared the courtyard and art was inseparable from everyday existence. The house functioned as a working studio, while the surrounding gardens became a living museum. Gardens were particularly central to Claude’s practice – carefully shaped spaces of controlled wildness, where vegetation was allowed to flourish freely yet deliberately, animated her sculpture. This fusion of nature and art, cultivation and imagination forms the conceptual core of A Living Landscape.

Gallery address: 201 The Factory, 1 Yip Fat Street, Wong Chuk Hang

Behold, this ides of March: The Catalyst brings you the finest export from Newcastle upon Tyne, England. :zoviet*france: will be visiting Hong Kong, to bring us their perplexing visuals and dazzling auricular experience with a live performance.

<The Gate Is Open> LP + 12” boxed set w/T-shirt 
Limited 300 copies available at The Catalyst

Opening reception: 21st March, 6:30pm

26 March live performance at a secret location TBA.
 Physical tickets ONLY at The Catalyst, first-come, first-served.

Gallery address: G/F, 218 Hollywood Road

Carl Kostyál is pleased to present a duo exhibition by Camilla Engström (b. 1989, Örebro) and Julius Nordvinter (b. 2003, Gothenburg) at the gallery’s Hong Kong space in Landmark South.The exhibition marks Julius Nordvinter’s debut presentation in Asia and Camilla Engström’s return to the region, where she has established a strong presence in recent years.

Camilla Engström’s luminous landscapes and Julius Nordvinter’s psychologically charged portraits approach painting from different directions yet share a common lineage. Both draw on the imaginative terrain of Nordic folklore, where landscape, myth and the inner life often collapse into one another.

Opening reception: 4-6pm

Gallery address: 20/F, Landmark South, 39 Yip Kan Street, Wong Chuk Hang

Jutta Koether, born in Cologne, lives and works in Berlin and New York. Since the 1980s, she has been developing an alternative genealogy and practice of painting that have decisively shaped the current understanding of the medium. She programmatically connects her painting to performance, music, and textual production, and works and worked in collaborative projects with Reena Spaulings, Tom Verlaine, Steven Parrino, John Miller, Tony Conrad, and Kim Gordon, among others.

Koether's work was the subject of a comprehensive survey exhibition at the Museum Brandhorst in Munich and the Mudam in Luxembourg in 2018 and 2019. Other exhibitions of her work have been held at Artium Museoa in Vitoria-Gasteiz (2022), Museum Abteiberg in Mönchengladbach (2019), Dundee Contemporary Arts (2013), Moderna Museet in Stockholm (2011), Van Abbemuseum in Eindhoven (2009), and Kunsthalle Bern (2009). Her works are in collections of international museums, such as the Museum of Modern Art and Whitney Museum of American Art in New York, Museum of Contemporary Art in Los Angeles, Berlin National Gallery, Museum Brandhorst in Munich, Museum moderner Kunst Stiftung Ludwig Vienna, Museum Ludwig Cologne, and Stedelijk Museum Amsterdam.

Opening reception: Sunday, March 22, 4–8 PM

Featuring a live performance by Jutta Koether and Patrick Derivaz throughout.

Gallery address: 8 & 19/F Grand Marine Center, Yue Fung Street 3

Zheng Zhou (b. 1969, China) is a painter of instinct, conveying onto canvas observations from the world, as ad hoc as they may be. His strokes, furtive yet decisive, depict an urgency to grasp that mesmeric multitude of the cosmos, the ‘phenomena’ we, or more precisely he, is a witness to. Referencing ‘I Ching’ (“The Book of Changes”), Zheng channels the astronomical, remarking the myriad of components that make up our universe, mimicking its duplicity through his subject range, hues and techniques.

Opening: Mon, 23 March, 6 – 8 PM

Gallery address: 10 Sik On Street, Wan Chai

For the first time in Hong Kong, contemporary artist Ayako Rokkaku will launch a large-scale installation and exhibition at LANDMARK Atrium and BELOWGROUND, presented in partnership with GALLERY TARGET.

In conjunction with the exhibition, contemporary artist Ayako Rokkaku collaborates with AllRightsReserved to debut her first-ever lamp artwork, translating Rokkaku’s artistic language into sculptural form. This limited edition object will be released via DDT Store (www.ddtstore.com); Limited quantities will be made available exclusively to exhibition visitors.

Venue address: Basement, 15 Queens Road Central

We are delighted to launch Knotting Space, a cycle-based curatorial platform in Hong Kong, the first cycle will debut on 23 March to 18 April 2026 at 7/F H Queen’s in Central. Through curated pairings across a diverse scale of practices, each cycle turns the space into a meeting ground for collectors, galleries, institutions, and non-profit organisations.
Knotting Space is conceived as a long-term project that bridges the commercial and charitable projects — a model where audiences are exposed to a wider discourse in the local art ecosystem from emerging to established voices. The debut exhibition Knot I: The Drawing Room and HUA International presents Soft Reality, Hard Dreams will be launched by Director and Curator of Knotting Space, Jims Lam, an independent curator based in Hong Kong who also serves as the curator of the 2026 edition of Pavilion Hong Kong at H Queen’s. With Knotting Space, Lam develops the programmes through deliberate pairings that connect cross-cultural perspectives and cross-regional geographies. He brings together exhibitors with distinct yet compatible approaches, so new readings can emerge through proximity.

The inauguration cycle of a total of four cycles in 2026, KNOT I: The Drawing Room and HUA International titled Soft Reality, Hard Dreams, brings together new and latest works by Vivian Caccuri (b.1986, Brazil), Jinbin Chen (b.1994, China), Mark Justiniani (b.1966, the Philippines), Matina Partosa (b.2000, the Philippines), and Shi Yi (b.1993, China).

Wei Gallery is pleased to present an upcoming exhibition exploring the cultural memory woven into Persian carpets.

For centuries, carpets have been more than decorative objects. They are vessels of stories, symbols, and history — carrying the visual language of a civilisation across generations. Bringing together 20 rare carpets, the exhibition traces how Persian visual traditions travelled across regions through the networks of the Silk Road, shaping artistic languages far beyond their place of origin.

Venue: Chatham Maison

We are excited to present WEEKENDERS, a suitcase art fair at Sansiao Gallery HK during Hong Kong Art Week. This compact and intimate platform brings together exhibitors from Hong Kong, Tokyo, Kobe, and Singapore, creating space for direct exchange and thoughtful presentation.

Featuring Chun Poon, Eunoia, Juri Akiyama, Li Jingwen SEIBUN, Samantha Lee, Urich Lau, Souya Handa Projects, and Sansiao Gallery HK.
Led by Fair Director Yukie Sanderson and Artistic Director Souya Handa, WEEKENDERS invites visitors to experience artworks up close and enjoy meaningful conversations around art.

Opening Reception: 23 March 3-7 PM

Gallery address: 104 Wilson House, 19-27 Wyndham St, Central

Pearl Lam is pleased to present 'Bearing the Unseen', a solo exhibition featuring works by Shanghai-based artist Qiu Anxiong, on view from 23 March to 30 May at our Hong Kong gallery.⁠
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'Bearing the Unseen' presents a new body of paintings that imagine a utopian natural world inhabited by displaced animals and human figures, addressing our fractured relationship with nature and our enduring desire to control it.⁠
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The word 'Bearing' carries multiple layers of meaning- to hold, to endure, to bear witness, and to strive for control or possession, all gestures linked to human agency and burden. In contrast, 'the Unseen' refers to what lies beyond ordinary perception, inviting us to question our beliefs and to see the world anew. Through Qiu’s poetic vision, animals, once silent sufferers, emerge as profound witnesses to human exploitation, reflecting both our folly and our shared destiny.⁠

Grand opening: 23 March, 2-8pm

Gallery address: G-3/F, W Place, 52 Wyndham Street, Central

Co-commissioned by M+ and Art Basel, and presented by UBS, Shahzia Sikander’s 3 to 12 Nautical Miles (2026) is a radiant cinematic tableau, animated from hand-painted images, navigates the enduring currents of power and trade that have shaped the global landscape from the nineteenth century to the modern era. The work will be shown on the M+ Facade every night from Monday, 23 March to Sunday, 21 June 2026. The commission marks the fifth consecutive year of collaboration between M+ and Art Basel, presented by UBS, in activating the M+ Facade.

In '3 to 12 Nautical Miles', Sikander traces the entangled histories of empire, trade, and maritime power that linked the British East India Company, Mughal India, and Qing China. This animation charts the decline of Mughal authority under Akbar II, the internal strains of the Qing dynasty, and the East India Company’s rise from commercial venture to territorial power. Within this context, the work interrogates Britain’s opium cultivation in India, its coercive trade with China, and the First Opium War, exposing the mechanisms of imperial extraction and the deep power asymmetries between Britain and China at the time.

White Cube is pleased to present a concurrent two-city exhibition of new works by renowned Ghanaian sculptor El Anatsui. Timed to coincide with Art Basel Hong Kong, the exhibition debuts new sculptural installations from his celebrated ‘bottle top’ series, created in his Accra studio using locally sourced discarded bottle caps. These shimmering, meticulously assembled works reflect Anatsui’s ongoing engagement with material transformation, global exchange and the shifting histories embedded in everyday objects.

Preview: 24 March 2026, 5–8pm

Hong Kong: 24 March – 25 April
Seoul: 18 March – 18 April 

Gallery address: 50 Connaught Road Central

Tang Contemporary Art Hong Kong is pleased to present “Crab,” a solo exhibition by renowned Chinese artist Yue Minjun. The exhibition traces back his artistic journey over the past three decades, systematically showcasing his major series, while unveiling new works that expand his distinctive visual language. Yue Minjun’s artistic practice does not follow a linear path; instead, it moves sideways like a crab — shifting across mediums, repeatedly returning to specific motifs, when maintaining tension among multiple directions. The exhibition “Crab” names this nonlinear, non-unidirectional creative structure, metaphorising how the artist “walks on multiple legs” to break free from a singular perspective, thus, examining artistic creation and social reality through multidimensional exploration.

Since the early 1990s, Yue Minjun has established a highly recognisable visual language through his exaggerated, yet closed laughing figures. This “laugh” has been reproduced and interpreted continuously in the global context, nearly becoming his personal signature. However, focusing solely on the smiling face risks overlooking a more crucial structural trait in his work: a flow of thinking that rejects linear progression and travels sideways like a crab.

Opening Reception: Tuesday, 24 March, 6–8 pm
7 pm Special Performance by Ensemble Apeiron

Gallery address: 10/F, H Queen’s, Central

Ora-Ora is delighted to present the first solo show at Ora-Ora by celebrated Hong Kong artist William Lim. "Time After Time" opens during Art Month, on March 24, 2026, presenting 23 paintings, executed at the West Lake in Hangzhou across the four seasons.

Painting intensely en plein air, the artist captures historical harmonies and dynamic moments of change, where art converses with nature, informed by literature, myths and self-reflection.

Each canvas is saturated with the immediate sensation of light, air, and weather, generating an immersive space that invites us to contemplate permanence through transience, and deep history through the fleeting present.

Opening Reception: March 24, (Tuesday) 4:00 pm - 8:00 pm, artist will be present for the book signing

Gallery address: 105-107, Barrack Block, Tai Kwun, Central

MASSIMODECARLO is pleased to present A Grass Roof, Lily Stockman's first exhibition in Hong

Kong. Stockman takes her title from an eighth-century poem by the Tang Dynasty Buddhist master Shitou Xiqian, whose Song of the Grass Roof Hermitage makes an audacious claim: "though the hut is small, it includes the entire world." The six new paintings test whether paint might do the same thing. Exploring the phenomenological proposition at the heart of Shitou's poem - where the protagonist dissolves into perceived space through portals of color and permeable boundaries - Stockman's canvases collapse the distinction between interior refuge and infinite expanse. Can a painting contain everything?

The works unfold in a narrow palette of blues and greens - frames nesting within frames, organic shapes blooming and receding, scumbled outlines and slivered shadows creating what Stockman describes as a "permeability" between self and spaciousness.

Opening Reception: Tuesday, March 24, 6-8pm The artist will be present

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun

INKstudio is pleased to announce the grand opening of its new space at Tai Kwun, Hong Kong, with the solo exhibition “Kang Chunhui: Garden of Folding Paths”, opening on March 24, 2026. This exhibition marks the opening of INKstudio‘s new space at Tai Kwun and represents a significant step for the gallery in the Asian art scene.

The exhibition further explores the distinctive artistic language of Kang Chunhui, particularly her sustained investigation of mineral pigments and her practice of transforming earth into pigment and pigment into image. Within this practice, Kang expands the visual language of flower painting, using the fold as a central metaphor through which the forms of petals unfold into human figures and landscape. Kang’s work was first introduced in depth through her major solo exhibition at INKstudio in Beijing in 2024, and the present exhibition in Hong Kong brings her practice to a broader international audience.

Opening Reception: 3pm – 7pm

Gallery address: Room 103-104, 1/F, Block 3, Tai Kwun, No. 10 Hollywood Road, Central

David Zwirner is pleased to present Pearl Lines, an exhibition of new paintings by New York–based artist Walter Price (b. 1989). Price is known for his richly vibrant paintings and drawings, which bypass strict allegiances to representational or abstract modes. His canvases and works on paper not only experiment freely with color, line, and space but also reveal emphatic shifts in perspective, suggesting scenes and imagery that the artist ultimately leaves for viewers to absorb and contemplate on their own.

This is Price’s first solo exhibition in Asia, and his second with the gallery since he joined David Zwirner in 2024. Price’s work is also included in the 2025–2026 group exhibition MONUMENTS, co-organized and co-presented by The Brick and the Museum of Contemporary Art, Los Angeles, and curated by Hamza Walker, Kara Walker, and Bennett Simpson.

Opening Reception: Tuesday, March 24, 3–7 PM

Gallery address: 5–6/F, H Queen’s, Central

Nicole Eisenman’s ‘Fallen Angels,’ as the title suggests, is the artist’s most down-to-earth show in years. Comprising eleven recent paintings and three sculptures, the exhibition narrows the field of vision to three sites of middle-class living: home, work, beach. Nearly all of the paintings are easel-sized, while two of the sculptures (made with a table and a chair, respectively, from Eisenman’s studio) feel like accidental readymades, even ex situ. The contraction of scale and contemplative tone stands in contrast to Eisenman’s reputation for crowded tableaux and picaresque social scenes, but the work is no less demanding. Here, figures linger, hesitate, repeat themselves; time settles into familiar spaces. The ambition lies not in spectacle but in attention, in the difficulty of staying with what is close at hand. The first two sites—home and work—have collapsed into each other. The third offers no escape. 

One of these works is not like the others. ‘Fallen Angels’ (2025), the painting that gives the show its title, looks like an alternate movie poster for Wong Kar-wai’s 1995 neo-noir. At first, it seems out of place amid the quiet representations of home and work life, but once you remember that Kar-wai shot the film entirely at night, you realize it’s key to the meaning of the whole exhibition. Look through the window or up at the sky in nearly any of these paintings, and you’ll see it immediately. For Eisenman, the world outside is dark and getting darker. 

Artist Talk: Tuesday 24 March 5 – 6 PM 

Opening Reception: Tuesday 24 March 6 – 8 PM 

Gallery address: G/F, 8 Queen’s Road Central

Korean Cultural Center invites you to the opening reception of "From Korea to Hong Kong: Expanding Horizons", a group exhibition with 11 Korean galleries that participate in Art Basel Hong Kong 2026, showcasing the artworks of 11 artists.

Manna Lee 李萬娜 (Sun Gallery), Michael Joo 米高·朱 (Kukje Gallery), Jae Yong Kim 金載容 (Hakgojae Gallery), Won Seoung Won 元性媛 (Arario Gallery), Kang Hoon Kang 姜康薰 (Johyun Gallery), Kyung-Chul Shin 申炅澈 (Leeahn Gallery), Sujin Choi 崔秀珍 (G Gallery), Jaeseok Lee 李在錫 (Gallery Baton), Youjin Yi 李裕珍 (Wooson), Muyeong Kim 金武永 (N/A), Jonghwan Lee 李鍾晥 (Cylinder)

Opening Reception: Tuesday, 24 March 2026, 6:00 – 8:00 PM (Artists introduction at 7 PM)

Venue: 6-7/F, Block B, PMQ, 35 Aberdeen Street, Central

Gagosian is pleased to announce Persephone, Mary Weatherford’s first solo exhibition in Asia, opening at the gallery in Hong Kong on March 24, 2026. In the new paintings on view, Weatherford explores light and color, and pursues her interest in found materials, collage, and neon through a mythological theme that resonates with the changing seasons.

Persephone features luminous paintings in vinyl emulsion paint on linen. Some are augmented by colored neon tubes, seashells, or coral. In Greek mythology, Persephone is stolen from earth to become queen of the underworld; upon her return she presides over springtime renewal. As in the Chinese myth of Nian, a hibernating beast that emerges at year’s end, her story explains the cycle of seasons: when Persephone is abducted by Hades, her mother Demeter’s grief causes all plant life to cease. An eventual compromise requires Persephone to spend part of the year below ground, and the other part on earth, allowing spring flowers to bloom, bees to buzz, and blue summer skies to bring joy. Weatherford’s new series imagines the earthquake of Persephone’s disappearance and her journey into radiance, representing her achievement of new life.

Opening reception: Tuesday, March 24, 6–8pm

Gallery address: 7/F Pedder Building, 12 Pedder Street, Central

DE SARTHE is pleased to announce Jack Tworkov 1900-1982: Pioneer of Abstract Expressionism – A Survey, an exhibition of key works by the influential American painter from the late 1940s to early 1980s, organized with the support of the Estate of Jack Tworkov, Van Doren Waxter, and major US and Asian collectors. Marking this historically significant artist’s first major retrospective in Asia, the exhibition follows the evolution of his practice, characterized by the artist’s disposition toward creative fluidity and shifting identities, with a focus on the years in which he played a pioneering role in the Abstract Expressionist movement alongside peers including Willem de Kooning, Jackson Pollock, and Mark Rothko. On view from March 21st to May 9th, the exhibition offers a journey through history made via the eyes and hands of its maker.

Opening reception: Tue, Mar 24, 8-10pm

Gallery address: 2/F, Vita Tower, 29 Wong Chuk Hang Road

Asia Society Hong Kong Center proudly presents Hung Hsien: Between Worlds, the first part of “Celebration of Ink” – a two-part series that celebrates the profound legacy and spirit of contemporary ink art.

93-year-old Hung Hsien (洪嫻, Margaret Chang) was born in Yangzhou, China in 1933, she moved to Taiwan in 1948, where she studied under revered scholar-painter Prince Pu Ru. She continued her studies at National Taiwan Normal University before relocating to the United States in 1958, where she engaged deeply with Abstract Expressionism, Surrealism, and other modernist movements while studying at Northwestern University and the School of the Art Institute of Chicago.

Gallery address: 9 Justice Drive, Admiralty

At VILLEPIN, we are delighted to present Ted Gahl’s quietly arresting world. His paintings hold that rare, suspended moment in which recollection becomes image, and image becomes feeling. We invite viewers to step into this atmosphere of roaming and return, to encounter works that are at once deeply personal and universally familiar. In witnessing Gahl’s practice, one is reminded of how we move through life: carrying an interior world across shifting landscapes, remaining grounded even as everything around us seems to blur and re form. We welcome you to experience these paintings, and to find within them traces of your own journey.

Gallery address: 53-55 Hollywood Road, Central

Flowers Gallery Hong Kong is pleased to announce Leviathan, marking the acclaimed

Scottish artist Ken Currie’s second solo exhibition in Asia. Presented in Sheung Wan, a district historically shaped by a maritime and trading past. Currie’s new paintings enter into a quiet dialogue with the area’s longstanding relationship to its harbours.

In this exhibition, Currie explores our human instinctual terror and fascination with the unknown, using what may be found when we look into the depths of real and imagined seas. Two new monumental oil paintings, Immemorial III (2024) and Leviathan (2024), portray colossal, fictitious sea beasts as they appear to charge up through dark waters.

Preview: Thursday, 26 March, 10am-12pm

Gallery address: 49 Tung Street, Sheung Wan

Alongside our presentation at Art Central 2026, The Jeeum Gallery is pleased to present Choi Kichang’s solo exhibition “Everything is going to be alright”, opening in our Central gallery space.

In this exhibition, Choi Kichang revisits the enduring question of what role art can still play in everyday life. Drawing inspiration from minhwa, Korea’s traditional folk painting, the artist reflects on how images once functioned beyond decoration — as gestures of protection, prayer, and hope embedded in daily life.

As the exhibition text notes, Choi’s practice attempts to grasp "an energy that exists but cannot be proven." Through repetition, chance, and material experimentation, he explores what practical use contemporary art might still have in our lives today.

Opening Reception 26 March 2026, 6-9 PM
The Jeeum Gallery, 
3/F, 9 On Lan Street, Central

The Hang Seng University of Hong Kong (HSUHK), in partnership with ArtNext, presents the solo exhibition of acclaimed Chinese contemporary artist Wang Yi（王一）, “The Stars Are Not Afraid to Appear Like Fireflies”. Co-curated by Mianco Wong and Sissi Xie, it features recent works from Wang’s iconic Reflection of Shadow series alongside the new Ksana series.

 The exhibition’s title draws from Rabindranath Tagore’s Stray Birds, using “shadow” as a lens to examine how self-awareness forms through light reflections, personal experiences, and societal structures, while true existence often remains elusive. Layered, ephemeral imagery in paintings invites viewers to engage with the dynamics of “seeing and being seen”, prompting reflection on the visible and invisible, the individual and the environment.

The immersive space is designed as an abstract maze of reflective black glass and red bulbs, echoing the venue’s floor-to-ceiling windows and Hong Kong’s layered urban architecture. The red tungsten bulbs suspended in space serve as a metaphor and warning for the era we live, as visitors navigate through the installation, their reflections illuminate, refract, and overlap, heightening awareness of their existence amid forces of resistance and dissolution.

Venue address: Foundation Gallery, 1/F, Creative Humanities Hub (CR), The Hang Seng University of Hong Kong, Hang Shin Link, Siu Lek Yuen, Shatin

During my time at a Catholic primary school, I grappled with profound questions about biblical narratives. Why does God, as a father, require His Son’s blood to atone for human sin? What if Jesus had refused to be the Lamb of God? How can we understand their relationship as Father and Son beyond merely divine and sacrificial roles? Even in today’s contemporary era, the complexities and tensions in father-son relationships, as well as those between colonies and their countries, persist—often amplified by heavy expectations and inherent power dynamics. This exhibition invites viewers to explore the intricate bond between fathers and sons through a reflective lens, intertwining Catholic imagery with personal narrative, as well as photography with painting. Through this interplay, I hope to evoke introspection and foster a deeper understanding of these enduring connections.

Venue: The Gallery of Hong Kong Art School, 10/F, Hong Kong Arts Centre, 2 Harbour Road, Wan Chai

Architecture is fundamentally an art. It is a profound game of composition and the material articulation of the mind. Trained to see and think differently, architects move through the world with heightened sensitivity, observing the intricate details of everyday life with care and precision. Through their thoughtful use of materials, they compose love letters to the contemporary landscape.

In this exhibition, curator William Lim walks alongside three fellow architects, Frank Leung, Norman Ung, and Alonso Odria, to present their artistic practices under the exhibition title The Brutalists. Far from a stylistic reference to mid-century concrete monuments, The Brutalists here represent an uncompromising attitude: the courage to strip away the unnecessary and the superfluous, allowing raw structure, material honesty, and the artists’ thought to flow through the space.

Opening Reception: 2026.4.18 (Saturday) 3-5pm

Gallery address: Shop 103, 1/F, Barrack Block, Tai Kwun, Central

Time is the passing of breath. Each breath marks a new moment. We measure time in hours and years, but beneath it all is the breath between, the interval between one exhale and the next.

Both time and breath are invisible. Like our shadow, they are always present but rarely seen. Peter Handke wrote that presence is the thing we deal with "from one breath to the next, from one moment to the next, from one word to the next." By making breath visible, we find a way of showing time and showing presence.
 Inflation and deflation mark the passage of breath through time. The breath between moments of tension or celebration. Between inflation and deflation. Between one thing and another. This series explores that space. The breath between.

​Gallery address: Shop 202, 2/F, Barrack Block, Tai Kwun, Central

Photographed in the Summer of 2025, “To Tibet” is a collection of silver gelatin prints made by Wu Chi Long, capturing various scenes along the China National Highway 214 (G214) and 318 (G318).

This showcase is a visual representation of the Artist’s introspection in his 18-day roadtrip from Kunming of Yunnan to Lhasa of Tibet. Traversing over 2,000 kilometers by vehicle, the exhibited works showcase countless landscapes in passing, including mountains, flatlands, deserts, and grassy fields to name a few. Through these curated photographs, the Artist aims to initiate reflection about the idea of nature and our relationship to it. 

Gallery address: Unit 707, 7/F, Block B, Po Lung Centre, 11 Wang Chiu Road, Kowloon Bay

Jointly organised by The Met and the Hong Kong Palace Museum (HKPM), this special exhibition showcases global jewellery from six continents spanning over 4,000 years, and marks The Met’s debut in the Greater Bay Area. Featuring approximately 200 spectacular treasures alongside select highlights from the HKPM collection, the exhibition explores the enduring relationship between the body and jewellery. These masterpieces display the depth and breadth of the encyclopedic collection of The Met while celebrating the diversity and interconnectedness of global jewellery.

Gallery 8, Hong Kong Palace Museum

In this exhibition, packaging boxes are used as medium, their role is to protect products from damage. Merchants go to great lengths to dress them up, so that they can instantly catch the customer's eye, then pick them from the shelf amongst the wide range of brands. However, these boxes will eventually be discarded.

Boxes have their own place of origin, but relate to our lives. Have you remembered they once carried souvenirs from friends, daily stuffs and necessities... These looks chaotic fragments, bits and traces of daily life, piece together a unique life trajectory. In this project, through reconstruction of these boxes, their brilliance once again been seen in another way of seeing, and let's listen to the story of them and their master.

Opening reception: 18.4.2026 16:00 - 19:00
Gallery address: 13A Prince's Terrace, Central

How can art forge connections with society, and through which strategies might artists build relationships and respond to our times? 

The Chinese title of the exhibition references the lyrics of the 1987 Cantopop song “共同渡過” (Walking Through Together), invoking the search for companions in moments of transition as a metaphor for the aims and energies of artistic intervention and community participation in participatory art practices. 

Featuring 4 Hong Kong artists from different generations - Ricky YEUNG Sau Churk, Phoebe MAN, MUDWORK, and Foreseen Agency (Shan WONG + Kachi CHAN) - the exhibition brings together socially engaged practice, community-based art, participatory and collaborative approaches, and artists acting as social agents, to cultivate relationships with diverse communities. Amidst the challenges and flux of our present time, this exhibition invites your active participation - To collectively explore and reimagine the forging of communities, while sensing, perceiving and understanding our world anew.

Opening reception: April 16, 2026 (Thu) at 6:30 PM in the presence of curator and artists

Gallery address: 14/F Hong Kong Arts Centre, Wanchai

Pan Hua Kou, also known as Chinese floral buttons, is a traditional craft defined by the interplay of line and knot, form and technique. Once widely used in traditional Chinese garments, this intricate handiwork has gradually faded from everyday life, while offering new possibilities for contemporary reinterpretation.

Within this context, ReKnot centers on the idea of “re-knotting.” Curated by two local Pan Hua Kou artists, the exhibition presents recent works from a fresh perspective. Artist-led tours, experience classes, and limited-edition souvenirs invite audiences to rediscover the craft’s enduring charm and creative potential.
Guided Tour Date & Time: 18, 19, 25, 26/4_16:00
21, 23, 28/4_18:00

Experience Class Date & Time: 18, 19, 25, 26/4_16:30
21, 23, 28/4_18:30
*Registration required

Venue: 15/F The Showcase, Hong Kong Arts Centre, Wan Chai

Gardens are arcadias for self-discovery, leisure havens for the ordinary people, stages of power for rulers, tasteful displays for wealthy merchants and spiritual homes for scholars. While the design and style of Chinese and Western gardens from ancient to modern times vary, they all reflect the core value of a garden: a serene retreat filled with natural beauty, where people can relax and reflect.

This exhibition is an unprecedented Hong Kong showcase of 106 selected paintings and artefacts from The Palace Museum in Beijing, the Art Institute of Chicago, the Palace of Versailles in France and the Hong Kong Museum of Art. Curated around a central theme of garden landscaping, activities in garden and appreciation of artworks inspired by garden culture, the exhibition takes the audience on a journey through the grand gardens of kings and nobles, including Emperor Qianlong of China and King Louis XIV of France. It also highlights romantic gardens portrayed by master artists like Claude Monet, Zhang Daqian and Wen Zhengming, to explore a stunning variety of gardens and the cultural significance behind their designs.

Venue address: 2/F, The Special Gallery, HKMoA

On the occasion of the French May Festival and the 150th anniversary of the Galerie Kraemer, a leading and longstanding presence in the art and antiques world on rue de Monceau in Paris for seven generations, Boogie Woogie Photography is proud to present a solo exhibition by Jacques Henri Lartigue (France, 1894–1986).

This special presentation offers a renewed glimpse into the artist's world, featuring two previously unseen large format prints of color diapositives of the 1970's alongside a dozen classical iconic platinum prints and vibrant color works. Lartigue, renowned for his dynamic photographs of Belle Époque life, car races, and elegant women, possessed a keen eye for capturing joy. Richard Avedon eloquently noted, Lartigue "photographed his own life," creating a dreamed, idealized vision where he consciously chose to Keep only the Sunshine.

Gallery address: 8F, E. Wah Factory Building, 56-60 Wong Chuk Hang Road

Poet John Giorno (American, 1936–2019) initiated Dial-A-Poem in 1968 to bring poetry into everyday life. Believing that ‘much poetry is intended to be heard, not merely read’, he invited writers, artists, and musicians to contribute works that anyone could access by dialling a hotline. The project later evolved into a gallery installation of telephone sculptures, allowing visitors to listen to randomly selected readings.

In recent years, the project has expanded internationally. Versions developed in France, Mexico, and Brazil showcase works by local makers in their own languages. Dial-A-Poem Hong Kong features newly recorded readings in Cantonese, Mandarin, and English by approximately thirty local poets, including Bei Dao, Cao Shuying, Tim Tim Cheng, Chow Hon Fai, Derek Chung, Olivier Cong, Ho Fuk Yan, Hon Ki Chau, Huang Canran, Kitty Hung, Stuart Lau, Louise Law, Liu Wai Tong, Lok Fung, Luk Wing-yu, Isadora Neves Marques, Wong Hin Yan, Jennifer Wong, Nicholas Wong, Peace Wong, Sonia Wong, Xixi, Yam Gong, Yasi, Yau Ching, Eric Yip, and Zheng Danyi, and more. Visitors can listen to the poems via telephones in the Focus Gallery or by calling a local phone number.

Imagine a parallel world, similar to our own Earth, but where the plant kingdom has evolved in entirely different ways. In this alternative universe — that of potentially habitable exoplanets — plants find their astrobotanical doubles, shaped by other magnetic, gravitational, and atmospheric forces. Flora incognita is this new uchronia proposed by Vincent Fournier: a speculative herbarium dedicated to the possible forms of plant life, at the crossroads of art and botany.  

With the collaboration of scientists from the Muséum national d’Histoire naturelle, the artist anchors fiction in reality. In the spring of 2025, at the Domaine des Étangs in France’s Limousin region, he transposes the site’s local flora onto the exoplanet Prima sidera to imagine its evolution.  

Reinterpreted through 3D technologies, this encyclopedic herbarium achieves an unprecedented photographic precision, in the lineage of the great naturalist iconographies, from Anna Atkins to Karl Blossfeldt.  

Opening reception: 6.5.2026（Wed） 6 – 8 pm

Gallery address: G/F, 74 Hollywood Road, Central

Kwai Fung Hin Art Gallery is pleased to present the group exhibition A Ride in Fantasies, exploring contemporary interpretations of the horse as a classical motif across diverse cultures, featuring France-based Chinese sculptor Guo Chengdong, Chinese artists Xue Song and Zhang Gong, Egyptian artist Ibrahim Khatab, and others.  

Through sculpture, painting, and collage, artists variously regard the horse as an embodiment of cultural memory and identity, conveying ideals of freedom and aspiration, or as a vehicle for formal exploration of bodily tension and spatial dynamics. The exhibition navigates from historical symbolism to contemporary narrative, revealing the horse’s multidimensional presence in both form and spirit in contemporary art.

Gallery address: 9/F, Entertainment Building, 30 Queen’s Road Central, Central

The global geopolitical situation is reshaping economic, geographic, and artistic barriers, limiting exchanges. This exhibition aims to demonstrate that artistic boundaries do not exist and that ART ACROSS BOUNDARIES is an invitation to explore how art can unite people and cultures, while addressing the challenges and opportunities it represents. Art has always been a powerful means of expression, transcending cultural, linguistic, and geographic barriers, thanks to the generosity of 30 participating artists. 

An exhibition rich in artistic variety and emotion 

1. Immersing us in diverse artistic styles and traditions

2. Helping the lives of children in the Mekong, thanks to donations and the kindness of our audience

3. Encouraging visitors to reflect on their own identity and the role of culture in their lives. 

Artists, mostly inspired by Asia or by the ART ACROSS BOUNDARIES theme, help us "see" the beauty hidden in the most insignificant details of our daily lives, sublimating their art through their vision and diverse techniques.
Opening Reception: 14.5.2026（Thu）5 – 9 pm

Cocktail With The Artists 16.5.2026（Sat）5 – 9 pm

Venue address: Hong Kong Visual Arts Centre

Tang Contemporary Art is honored to present the duo exhibition Come Closer, gathering seminal artworks of French artists Arik Lévy & Zoé Ouvrier. Based in Paris and Saint-Paul-de-Vence, the two artists are working across visual arts and design, in-between styles, transversal cultures and traditions, yet they nurture presence and inter-relation. Their works draw us in through delicate details, while confronting us to substantial themes such as memory, fragility, the body, identity, silence, and cross-cultural links.

Opening Reception: 15.5.2026  3 – 7 pm

Gallery address: 10/F, H Queen's, Central

Yannick Chevrel, an abstract expressionist, creates intricate combinations of colours that not only attract the viewer's attention but also evoke emotional responses. This ability to blend hues instinctively makes the artworks captivating and thought-provoking.

As a self-taught artist, Yannick Chevrel has immersed himself in the Art School of Life, drawing inspiration from his three decades in Hong Kong. His journey reflects a rich tapestry of experiences, informing his art with a personal depth and resonance.  Yannick's choice of bright colours reflects his belief in their awakening strength. By employing vibrant contrasts and clashing hues, he captures viewers' attention and provokes an emotional response. This technique is central to his vision of art as a tool for transcendence and wonder. 

Venue address: The Fringe, Anita Lai Ling Chan Gallery, Central

White Cube is pleased to present Alia Ahmad’s (b. 1996, Saudi Arabia) first solo exhibition in Hong Kong.

Rooted in recollections and observations of her native Riyadh, and informed by the country’s broader cultural traditions alongside digital perspectives, Ahmad’s expressionistic paintings explore the nuanced relationship between memory, artistic expression and evolving landscapes.

Gallery address: 50 Connaught Road Central

Marking its 45th anniversary, Alisan Fine Arts presents a year-long “Then and Now” programme. Running in parallel with the “Then” exhibition in Central, this exhibition at Alisan Atelier maps the “Now;” it brings together 4 contemporary artists who take inherited materials, images, and ideas and transpose them into contemporary spatial, material, and conceptual frameworks. 

Li Donglu (b. 1982) draws on classical Western draftsmanship alongside Chinese pictorial thought, orchestrating light, colour, and precision to open contemplative, cosmological vistas. Yao Qingmei (b. 1982) redeploys archival film, performance, and installation to meditate on time, loss, and the body within public ritual and structures of power. Shi Qi (b. 1978), hand-paints rice paper in ink and colour, then meticulously folds and mounts it to canvas, blurring the lines between painting and sculpture, between action of creation and spiritual exploration. Qi Zhuo (b. 1985) reworks traditional sculptural lineages through glass, metal, and repair, pairing humour with critique to probe authenticity and cultural transfer.  

Together, these practices show how memory becomes material and how tradition becomes a generative constraint, reframing inheritance as invention in the present tense.

Opening reception: 20.5.2026（Wed）5:30 – 7:30 pm

Gallery address: 21/F Lyndhurst Tower, 1 Lyndhurst Terrace, Central

In France, 61% of people own a pet — about 75 million animals — making it the country with the most pets in Europe. In Hong Kong, the emotional and economic interest in pets among couples has grown so much that pets may soon outnumber young children in households. To ensure their well-being, both countries have developed complete health protocols: insurance, microchips, smart collars, and pet-sitting services, supported by technologies dedicated to monitoring these companions. Cities have also adapted, creating parks and activity areas for them. 

These customizable and adoptable animals now occupy a central place in society and attract major attention from the pet industry. The implantation of microchips in France and animal identity cards in Hong Kong illustrate this evolution. 

From this shared context, I created the Pop-pet series — imaginary animals drawn or painted in soft, transparent tones, symbolizing emotional bonds and attachment. The project includes small-format “identity portraits” echoing pet ID cards and large-format works representing the growing presence of pets in cities. A participatory element invites visitors to draw their own Pop-pet, contributing to a collective artwork. 

Opening Reception: 20.5.2026（Wed） 7 – 10 pm

Gallery address: G/F, 54 Sai Street, Sheung Wan

This May, the profound collaboration between Vacheron Constantin and the Louvre culminates in an exceptional exhibition at Tai Kwun, Hong Kong. Rooted in a shared passion for excellence, the collaboration between Vacheron Constantin and the Louvre extends beyond watchmaking, embracing the very essence of artistic heritage. From ancient sculptures to Renaissance masterpieces, the influence of the Louvre is reflected in every detail, making each timepiece not just a watch, but a bridge between history and innovation. 

The pinnacle of the exhibition is the Métiers d’Art Tribute to great civilisations’ first public appearance in Hong Kong. The timepieces illustrate the Maison’s extensive research into the Louvre’s iconic antiquities. Through the mastery of manual engraving, enameling, and various rare hand-applied decorative arts, the exhibition reimagines the epic imprints of ancient civilisations in miniature form. 

Venue address: Duplex Studio, Block 01, Tai Kwun

This exhibition features works by two contemporary Japanese artists based in Paris, Aki Lumi and Yuki Onodera.  Aki Lumi uses photography, drawings and sketches to explore questions such as what is artificial and what we see. Yuki Onodera constantly creates works that raise fundamental questions about what photography is and what images are. She uses photography to experimentally create a variety of works that explore themes that emerge from these questions.  While these two artists share the same creative space and time, they each pursue their own individual creative endeavors. Their works each possess unique qualities, backed by their own philosophies, ideas, and methods of expression. This exhibition introduces their representative series such as Aki Lumi's "Traceryscape" and Yuki Onodera's "The World Is Not Small - 1826," in the same space, creating a mysterious sense of synesthesia. 

Gallery address: Unit A, 10/F, Derrick Industrial Building, Wong Chuk Hang

Hong Kong Film Awards Best Picture Twilight of the Warriors: Walled In is not just a story of the Walled City; it is also a Hong Kong story. This film reunited Hong Kong film professionals, as the complete movie sets were built and shot in Hong Kong. They joined hands to recreate the Walled City, which was demolished in the early 90s. Audiences found the more than 50 sets in the film stunning.

The classic sets of the film are now located on the original sites of the Walled City – the present Kowloon Walled City Park. To re-create daily life in the Walled City, this movie set exhibition has been meticulously crafted with immersive designs and elements of traditional crafts. Visitors can also experience the sights and sounds of airplanes flying low over the Walled City through large projections.

This exhibition showcases not only the movie sets but also the outstanding creativity and craftsmanship of Hong Kong film professionals. Let us immerse ourselves in this cinematic journey and explore the Walled City and the charm of Hong Kong movies.

Yamen, Kowloon Walled City Park

From the 1920s and beyond, Paris was the center of the art world and the city where every artist dreamed of. Crossing oceans and borders, Asian artists set sail to reimagine what was already theirs, mixed with the infinite possibilities of a new beginning.

Opening Reception: 27.5.2026（Wed） 6 – 8 pm
Weekends by appointment only

Venue address: 7/F, One Pacific Place, 88 Queensway, Admiralty

David Zwirner is pleased to announce an exhibition of works by Dan Flavin (1933–1996) featuring the artist’s grids, a key body of work that he began in 1976. As curator Michael Govan observes, the grids count “among the most intense and concentrated of Flavin’s lights.” Constituting one of the artist’s most complex and nuanced chromatic investigations, these constructions are composed of an equal number of vertical fixtures facing backwards and horizontal fixtures facing forwards in varying color combinations. Situated in the corner of a room, they simultaneously project a blend of colors outward towards the viewer and inward into the corner, highlighting the architectural conditions of the space. A version of this exhibition—the first focused examination of this form—was on view at David Zwirner New York in January–February 2026 and the presentation in Hong Kong will include several re-creations of the way in which Flavin installed the grids in significant exhibitions held during his lifetime.

Gallery address: 5–6/F, H Queen’s, 80 Queen’s Road Central

The exhibition “The Outsider” takes its title from Albert Camus’ novel of the same name. Through the works of four artists — Apolline Cordier, Cang Yuan, Ophelia Jacarini, and Marc Tangay; who each stand beyond established orders and languages, the exhibition reveals that being an “outsider” is not about isolation, but a necessary distance. It is precisely through not fully belonging that the act of seeing becomes possible. 

Gallery address: 2/F, New World Tower II, 18 Queen's Road Central, Central

Isabel Parra is a Colombian-French artist based in Hong Kong, where she balances her art practice with teaching. She explores the natural, cultural, and social forces that shape individual identity. 8 embodies cycles, union, and fraternity, examining our place among species between symbiosis and extinction. Parra's work reflects the intersection of tradition and modernity, inviting contemplation on coexistence and humanity.

Opening Reception: 29.5.2026（Fri）6 – 9 pm

Gallery address: Unit A, 4/F, Kin Teck Industrial Building, 26 Wong Chuk Hang Road

This exhibition brings together two thought-provoking works from the M+ Collection by artists Heri Dono (Indonesian, born 1960) and Wael Shawky (Egyptian, born 1971). Both artists explore how civilisations evolve and intertwine, drawing on enduring traditions such as mythology and folk tales, oral storytelling, and theatre. These forms do not merely connect us to the past—they invite us to imagine alternative futures beyond the relentless drive of economic progress and modernisation.

Wael Shawky’s video work I Am Hymns of the New Temples (2023) delves into humanity’s beginnings and the construction of national narratives. Set among the ruins of Pompeii, actors wearing handmade ceramic and papier-mâché masks move through the remnants of the city, situated at the ancient crossroads of exchange between Egyptian, Greek, and Roman cultures. The work reinterprets shared creation myths and theatrical traditions to explore our need to make sense of the world through storytelling, and the way these narratives are adapted and reshaped for national purposes.

Heri Dono’s kinetic installation Fermentation of the Mind (1992–1993) resembles a classroom, featuring rows of old wooden desks topped with white fibreglass heads. When activated by a pedal, the heads nod in unison and emit distorted chanting sounds. The work is inspired by Indonesia’s sociopolitical landscape in the early 1990s, particularly the state’s influence on public opinion and independent thought through propaganda. Drawing on the rich Javanese tradition of wayang kulit (shadow puppetry), Dono uses satire to reflect on history, society, and culture.

Venue address:

Running in parallel with Chinese Avant-garde in Paris at Alisan Fine Arts Central for the gallery’s 45th-anniversary, this exhibition at Alisan Atelier gathers 4 contemporary artists who currently live and work in Paris, Li Donglu, Yao Qingmei, Shi Qi, and Qi Zhuo. Each artist transforms inherited materials, images, and ideas within contemporary spatial and conceptual frames. From Li’s dramatic dreamscape paintings and Yao’s meditations on time and loss to Shi’s folded paper reliefs and Qi’s reparative and subversive sculpture, the exhibition recasts lineage as a living engine for the present.

Opening reception: 30.5.2026（Sat）3 – 6 pm

Gallery address: 1904 Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen

Opening in June in Hong Kong, Hauser & Wirth will present Bowling’s first solo exhibition in Asia, bringing together a selection of historical and recent works that showcase Bowling’s mastery of surface texture. Sir Frank Bowling OBE RA is widely regarded as one of Britain’s most significant living artists. For over six decades, Bowling has relentlessly pursued a practice which boldly expands the possibilities and properties of paint. Ambitious in scale and scope, his dynamic engagement with the materiality of his chosen medium and its evolution in the broad sweep of art history has resulted in paintings of unparalleled originality and power. Bowling was elected a Royal Academician in 2005, appointed Officer of the Order of the British Empire (OBE) in 2008, and knighted in 2020 for his services to art. His works are held in major museum collections worldwide, including Tate, The Museum of Modern Art, and The Metropolitan Museum of Art.

Gallery address: 8 Queen's Road, Central

Alliance Française de Hong Kong and the University Museum and Art Gallery present The Little Prince and the Pilot. In celebration of the 80th anniversary of The Little Prince’s publication in France, this multigenerational exhibition displays original artefacts. Along four thematic journeys through Saint-Exupéry’s life, discover him as The Explorer (with artefacts, letters, photos and maps from his pioneering flights), the Writer (with manuscripts, original editions, and global translations of The Little Prince), The WWII Hero (with military objects, reconnaissance photos, VR experience of aviation history) and exclusively in Hong Kong, The Characters: several tactile sculptures of The Little Prince figures, designed for all audiences, including the visually impaired. This exhibition is made possible thanks to the generous support of our main sponsor, IWC Schaffhausen, and our sponsor, The University of Hong Kong Museum Society.

University Museum and Art Gallery, The University of Hong Kong

This exciting, family-friendly exhibition explores contemporary design and its hidden impacts on our everyday actions, like walking, eating, and sitting. It reveals how design can improve our lives, influence our behaviours, and foster human connections. General director Taku Satoh (Japanese, born 1955), video director Yugo Nakamura (Japanese, born 1970), and music director Shuta Hasunuma (Japanese, born 1983) invited designers and artists to respond to the exhibition’s ideas, resulting in a variety of activities: hands-on games, interactive installations, and immersive audiovisual rooms. The show aims to spark creativity and surprise—moments of inspiration that make you say ‘Ah!’.

Design Ah! at M+ is an adaptation of the highly successful exhibition at TOKYO NODE, produced with NHK Educational and NHK Promotion. It is based on Design Ah! neo, a Japanese children’s educational television programme produced by Nippon Hōsō Kyōkai (NHK, the Japan Broadcasting Corporation). The programme has received numerous international awards, including at the Prix Jeunesse and Peabody Awards. The M+ presentation is the first Design Ah! exhibition organised outside of Japan.

Venue address: Main Hall Gallery, G, M+

This presentation celebrates the museum’s fifth anniversary with a significant donation to the M+ Collections from Herzog & de Meuron (established Switzerland, 1978), the world-renowned architecture firm that designed the museum building.

The exhibition showcases newly donated models, drawings, and material samples that reveal Herzog & de Meuron’s innovative architectural practice. It focuses on built and unbuilt projects in China, including landmark buildings such as M+ (2013–2020), Tai Kwun in Hong Kong (2006–2018), and the National Stadium in Beijing (2002–2008), as well as urban planning projects that respond to how territory and landscape fundamentally shape the form of cities. These works reflect the firm’s deep engagement with China since the early 2000s, set against the backdrop of the country’s rapid economic growth and ambitious infrastructure development.

Myths, Monsters, and Manga: The Art of Fantasy in Asia explores the role of fantasy in the evolution of Asian visual culture and its global impacts. Spanning from the nineteenth to twenty-first centuries, the exhibition presents fantasy as a potent creative tool for artists to respond to shifting sociopolitical conditions. Through imaginative stories, characters, and worlds, these artists confront complex realities that resonate with contemporary experiences. This groundbreaking exhibition reveals the links between a wide range of genres and styles, highlighting historical connections that have rarely been explored.

Unfolding across four chapters, the exhibition begins with pre-modern traditions such as Japanese ukiyo-e woodblock prints, Indonesian shadow puppetry, and Tibetan Buddhist scrolls. These traditions helped establish fantasy as a foundational element of Asian visual culture. Chapters two and three trace major twentieth-century developments, including the spread of Surrealism through Asia and the post-war emergence of Japanese manga and anime. The final chapter presents the explosion of fantastical anime aesthetics in art, design, architecture, film, fashion, video games, and digital culture around the world that continues to the present day. It shows how these creative forms move fluidly across disciplines and regions in the twenty-first century.

Windows into Heaven (working title) is a special exhibition that offers a rare glimpse into the profound legacy of Eastern Orthodox art. It presents about 100 important icon paintings and gemstone-encrusted treasures of Orthodox Christian art that span nearly a millennium from the renowned State Tretyakov Gallery in Russia. Tracing the evolution of Eastern Orthodox art, the exhibition highlights the significance of visual narratives related to Christ, the Virgin Mary, saints and the Bible in Eastern Orthodox art traditions.

Gallery 9, Hong Kong Palace Museum

Jointly organised by the Hong Kong Palace Museum and the Guimet-National Museum of Asian Arts in Paris, this exhibition features nearly 150 masterpieces of Buddhist art from Guimet’s world-class collection, complemented by significant objects from Chinese Mainland museums. The exhibition highlights the transmission of Buddhism and the stylistic development of Buddhist art along the Silk Roads. Embark on a journey across Asia, from Afghanistan and China to the Korean Peninsula and Japan, spanning from the 1st to the 10th century, discover how Buddhist artistic traditions were shaped through a millennium of dialogue, movement and connectivity.

Gallery 8, Hong Kong Palace Museum