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

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

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.

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

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. 

“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

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+

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

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 Chinese University of Hong Kong Library presents an exhibition of the literary and artistic creations of Chung-hing. This Hong Kong-born writer and painter, who has resided in Paris for decades, embodies the fusion of Eastern and Western cultural sensibilities. Her writing explores emotions of ordinary individuals. Her paintings favour vibrant colours, capturing radiance, joy and harmony. She focuses on integrating poetry and painting. The graphical allegorical book Seeking You, also produced as a video, traces her philosophical interior.

Venue address: Hong Kong Literature Collection Hub, 1/F, University Library, The Chinese University of Hong Kong

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

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

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

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

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

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

"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

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

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

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

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

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.⁠
⁠
'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.⁠
⁠
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.

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

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

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

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

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

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.

Dissecting the Square. Colours and Black by Alexander James showcases a major new body of work and a significant moment for British‑born multimedia artist Alexander James. A graduate of Camberwell College of Arts in London, James has exhibited internationally in London, Paris, and New York, and is rapidly establishing himself as one of the most compelling voices of his generation.

Venue address: G/F, WKCDA Tower, West Kowloon Cultural District

What if a painting could breathe? What if a smile could speak? Co-organised by Hong Kong Heritage Museum and French May Arts Festival, and supported by the Title Sponsor, The Hong Kong Jockey Club Charities Trust, The Hong Kong Jockey Club Series: Meet Mona Lisa & Portraying the Renaissance combines Meet Mona Lisa, an immersive digital journey created by the Musée du Louvre together with Grand Palais Immersif, and Portraying the Renaissance, a gallery of Renaissance artworks curated for Hong Kong by Musée national de la Renaissance, the Pinacoteca Ambrosiana, and the GrandPalaisRMN.

In Meet Mona Lisa, the iconic painting comes to life through an emotionally charged and multi-sensory journey. The exhibition is unfolded across six themed sessions, including panoramic projections blending portraits and landscapes, interactive multimedia displays that reveal Leonardo’s science of painting, playful games and an immersive photo booth that invites audiences to Mona Lisa’s world. The hybrid of ambient light, sound shower and artistic imagery transforms with each space, while the projections of Mona Lisa in the optical theatre will guide audiences to uncover the story behind the mysterious smile that has captivated the world for centuries.

Portraying the Renaissance showcases some exceptional pieces of art that offer a glimpse into the period of creative explosion that reshaped the art scenes of Europe. These remarkable artworks, brimming with artistic innovation, speak to us just as clearly today as they did 500 years ago.

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

Distance has never been merely a measurement of space.

In the city, we grow accustomed to a certain kind of proximity – shoulders brushing against shoulders, gaps between buildings folding into one another, moments stacking upon moments. Yet true distance often lies in the things that cannot be measured. They are close at hand, but we habitually rush past them.

Five artists, five ways of seeing the everyday. Unknowingly, they each excavate a poetic distance from the soil of the ordinary – familiar yet strange, minute yet vast. Everyday Distances is not an absence, but a way of seeing. When we are willing to stop, to draw our gaze closer or push it further away, to give ourselves a breath within the hurried rhythm of the city – the everyday ceases to be merely ordinary. It begins to speak.

Fung Chim, Jess Leung, Giraffe Leung, Sam Cheng, Ting Sze Lok.

2026.5.05 - 2026.5.30
Opening Reception: 2026.5.08 Friday 5-7pm

Gallery address: Shop 103, 1/F, Block 3, Tai Kwun, 10 Hollywood Rd, 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

Leo Gallery Hong Kong is pleased to present The Raft, a solo exhibition by British artist Dylan Doe. Taking the raft as metaphor, Doe expands “raft” from a life-saving device adrift at sea into a structural condition that temporarily underpins, supports, and shapes form in the process of becoming. Throughout this series, human figures and plant forms intertwine in states of co-growth.

In this body of work, fragmented figures and mutating plant forms emerge within carefully constructed environments. Limbs are braced, stems are supported, bodies are partially fused with external frameworks. The title The Raft carries a quiet tension. “The Raft” suggests survival and suspension, a structure that keeps one afloat when solid ground is absent. It also evokes a base, like those used in 3D printing, where delicate forms require temporary supports. In Doe’s works, these rafts do not disappear once their task is complete. They remain, in fact merge with the figures they sustain, becoming part of their anatomy.

Opening reception: Tuesday 5 May 2026 | 6-8 pm

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

N’ WILD? means being unbounded by borders and untethered to any fixed direction. The space where ideas collide, where the uninhibited rawness of youth is preserved: a field that permits constant experimentation and sustained dialogue.”

Two colleges, 18 artists. One material, countless possibilities.

Opening Reception: 6/5/2026 (Wed) 18:00 - 20:00
Gallery address: 9/F, Cheong Tai Factory Building, 16 Tai Yau St, San Po Kong

Contemporary by Angela Li is proud to present "Soma", curated by Hong Kong curator, Shirky Chan, a group exhibition featuring Gordon Chi, Cynthia Kwok, Claire Lee, and Alyssa Tang. 

In ancient Greek, soma simply meant "body." But in the traditions of somatic practice, from dance to phenomenology, and to Eastern ritual, soma refers to something more precise: the body as felt from within, not the body as seen from outside. It is the body that breathes, aches, remembers, and trembles. It is the body that is the mind, and the mind that inhabits the body. 

This exhibition brings together four artists working at the intersection of mind, body, and time; not as separate categories, but as a single, indivisible soma. 

Opening reception: Thursday, 7 May 2026, from 5:00 to 8:00 p.m.

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

Soluna Fine Art is proud to present San Gimignano, a solo exhibition by Hong Kong–based Filipino American artist Jon Poblador. Inspired by his visit to the Italian city last year, where he was deeply moved by the colors encountered in one of its ancient churches, the exhibition presents a new body of work shaped not by image, but by an experience of atmosphere. Poblador’s paintings are not concerned with representation, but with an immersive exploration of the act of looking. 

Working within his signature grid, Poblador constructs each surface through hundreds of repeated marks. Each brushstroke functions as a kind of silent prayer, meditative, devotional, and sustained by focused attention. San Gimignano invites a slower mode of looking. These paintings do not reveal themselves at a glance; they unfold over time. Through sustained attention, something begins to surface, not a fixed meaning, but a shift in awareness. The surface shifts from structure to atmosphere, from stillness to a quiet sense of presence.

Opening Reception: 7 May 2026 (Thur) 6 - 8 pm

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

What does it mean to reveal the "unfolding self"? ✨

Join us at Wyndham Social this May for 𝐖𝐞𝐢𝐠𝐡𝐭 & 𝐓𝐫𝐚𝐜𝐞, a joint exhibition by sculptor Alex See and figurative artist Simon Shingleton.

Through a dialogue of heavy bronze and fluid pen strokes, the artists explore the raw, unvarnished truth of the human spirit. For Alex, sculpture is a meditative dance of vulnerability; for Simon, drawing is a therapeutic release driven by the pulse of music. Together, they navigate a passage from monochromatic traditions into a world of subtle, organic color.

Come and sit with the weight of form and the traces of emotion.

Gallery address: G/F, 33 Wyndham Street, Central,

Wood grain and wood-based elements in Hong Kong carry profound cultural, historical, and spiritual meanings, often blending traditional Chinese philosophies with the city’s unique, fast-paced identity. It represents a connection to nature, a link to the past, and a medium for artistic, spiritual expression.

Celebrating Part One of Grotto’s 25th Anniversary, World Within Wood brings together a group of Hong Kong artists specialising in wood medium through painting, carving and sculpture.   The gallery is separated it two sections (worlds).  The works of Kevin Fung, Casper Chan, Karen Louie and Ho Sin-tung bring forth the city’s glimmering materialism, dynamic human connections and its dark, mysterious interventions.  The natural grain of the wood, favoured by the other group of artists led by Lam Tung-pang, Bouie Choi and Scarlett Leung, dig deep into our psyche for a spiritual understanding of our city.  The inherent beauty of Hong Kong’s landscape is reinterpreted in the artists’ most personal way, leading the viewer to appreciate our dichotomous culture as well as the resilience of life.  

Artists include: Amy CHAN Man-yin, Argus FONG Tsz-leung, Bouie CHOI, Casper Hui-kwan CHAN, CHAN Kwan-lok, Halley CHENG, HO Sin-tung, Karen Louie, Kevin FUNG, LAM Tung-pang, Margaret Cheuk Wai CHU, Scarlett LEUNG Tsz-yung, William LIM, and XIE Chengxuan.

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

SC Gallery is pleased to present ”Whisper or Loud“, a group exhibition featuring Chow Ciao Chow; Chui Suet Wai, Doris; Wong Man Kit, Jake and Ngai Wing Lam, Ant. The exhibition explores the noise and silence of the world, as well as the fluctuations and stillness within us. Through distinct artistic approaches—ranging from vivid to restrained, from expressive to introspective—the four artists engage in a subtle dialogue within the gallery space, where four voices blend together in search of resonance.

Opening cocktail: May 9, 4-7 pm

Gallery address: 19/F, Sungib Industrial building, Wong Chuk Hang

HART HAUS is delighted to present “and i love you dearly” a solo exhibition by Michael Rikio Ming Hee Ho, concluding his 2-month international residency at HART HAUS.

“and i love you dearly" features a compelling new body of work that intricately weaves together poetry, text, and painting, reimagining the canvas as a site to examine nostalgia, memory, and identity. His works dwell in the strange comfort of looking back, where “home” begins to feel like a story we tell ourselves. Shaped by a transpacific sensibility spanning Hawaiʻi, Tokyo, and Hong Kong, his practice unfolds through an intimate, almost tactile relationship with language.

Opening reception: 9.5.2026, 16:30 - 18:30 (Artist tour 17:00)
Gallery address: 3/F, Cheung Hing Industrial Building, 12P Smithfield, Kennedy Town

Do artists create out of ‘Emo’, or do they inevitably fall into ‘Emo’ because they create?

“Artists’ eyes filled with sorrow / Tears of sculptures / Future generations say there’re none.” In Ivana Wong’s song “Lost in Art”, she states that artists are the ones who unlock the doors of thought for others. Yet when they step through the ‘Ghost Gate’ onto a stage, behind their exquisite or comical masks, no one knows the truth — that the performers are in fact “little pebbles” described by Shuntarō Tanikawa in his poem: “Time / has made me / dull; My sharp edges / worn smooth / by the ripples of days.”

Six young Hong Kong artists, drawing from the things they have long held dear and emotional, parody the roles of circus performers. With difficult skill, they stage a thrilling inner drama for the audience. Their works are packed with hardship, exaggeration, absurdity, and bizarre light and dust — all hidden in a secret realm that you can enter with just a free ticket, where emotion completely takes over.

Curator Tours: 10.05 | 17.05 | 24.05.2026 3PM-5PM (週日Sun)
Other times by appointment

Gallery address: Unit 11, 12/F, Remex Centre, 42 Wong Chuk Hang Road

This work begins with a solitary landscape. By restructuring, repeating, accumulating and varying linear forms, it unveils the inner undercurrent hidden beneath superficial calm.

The landscape acts as a mirror, projecting the inner conflict and existential struggle of the individual. It constructs a spiritual domain where inner agitation intertwines and converses with real-life circumstances.

Gallery address: 202, Block 3 Barrack Block, Tai Kwun, 10 Hollywood Rd, Central

Ozymandias: Myths of the Near Future is an invitation into an encounter arising from the collision between Percy Bysshe Shelley’s vision of fallen empires and J. G. Ballard’s worlds of psychic and environmental collapse. Bridging fashion, literature, music, ancient sculpture and modern and contemporary art, the exhibition imagines a near future in which the present is already becoming a poetic archaeology where myths are formed through decay, fragmentation, and survival.

Drawing inspiration from Shelley’s vision of ruin, fragility and the beauty of imperfection as premised in his 1818 sonnet Ozymandias, and Ballard’s proposition that dystopian catastrophe does not end culture, but remakes it, Ozymandias: Myths of the Near Future offers a Mad Max-esque world where meaning is forged in the wake of collapse. Here, beauty is no longer pristine; it is weathered, patinated, and scarred. What endures is not intact, but altered.

The distressed, salvaged garments of Greg Lauren — stitched, torn, and reassembled into a language of resilience — anchor this vision. Entering into dialogue with the spectral portraits of Eugène Carrière, Émile-Antoine Bourdelle and Georges Dorignac, alongside fragmentary heads from Ancient Greece, Rome and Egypt — the exhibition unfolds as a gathering of unlikely figures: part relic, part survivor, part apparition. These figures, in turn, emerge as unlikely models for Lauren’s garments.

Venue address: Landmark Chater, 8 Connaught Road Central, Central

An Exhibition on Love, Loss, and the Shapes Grief Takes

What does love look like after loss?
How do we hold onto those who are no longer here, yet somehow still with us?
How do we slowly learn to say goodbye in life?

Presented by Wyndham Social, Jada Poon Photography, MeART Limited and Hong Kong Life and Death Studies Association, “Still, With Us” is a contemplative photography and narrative exhibition that examines these questions not with answers, but with presence. Curated as a gentle, experiential journey, it brings together portrait photography by Jada Poon and personal stories from those who have experienced sudden loss, anticipated loss, or are living through a long goodbye. In a city where grief is often uncomfortably silenced or hurried past, this exhibition offers a rare and necessary space—to sit, to feel, and to remember that love does not end when someone leaves. 

Details and registration

Venue address: 27/F, 33 Wyndham Street, Central

Li Qing: Mechanismic Sublime — Reconstructing Literati Ruins constitutes the debut international solo exhibition of Beijing-born artist Li Qing (李晴, b. 1977) at INKstudio Hong Kong, spanning sixteen works from 2015 to 2026.

Li Qing's practice is shaped by an unusually wide trajectory of formation: trained as an electronic engineer in China, and resident in Germany for six years in the early 2000s, he arrived at painting through a systems thinker's sensibility — one attuned to pattern-driven logic, structural layering, and the generation of meaning across multiple simultaneous scales. His visual sources are equally wide-ranging: steampunk's romantic nostalgia for an alternative industrial history, cyberpunk's charged imagery of the individual under systemic pressure, the wasteland aesthetic's unflinching reckoning with fragility, art deco, copperplate engraving, religious painting from multiple traditions, and the graphic and pictorial universes of Jean Giraud (Moebius), Manabu Ikeda (池田学), and Ben Tolman. All are raw materials absorbed into a practice whose ambitions lie in a very different territory.

Gallery address: Shop 03-104, 1/F, Block 3, Tai Kwun, 10 Hollywood Rd, Central

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

Presented by THE SHOPHOUSE in collaboration with Douguya Hatcharea, a Japanese antique gallery based in Hong Kong, this exhibition brings together antique objects and contemporary artworks under a shared inquiry: how do things continue to live — and how should we value them?

The title gestures toward what often goes unrecognized: the unnamed makers, the unrecorded hands, and the quiet lives embedded in material form. It also speaks to a deliberate curatorial position. Too often, the value of an object is judged by who made it, who owns it, or who presents it. Authorship, reputation, and institutional framing frequently precede direct encounter. By naming this exhibition Unnamed, we intentionally suspend those hierarchies — inviting viewers to meet each work without relying on attribution as a primary measure of worth.

Gallery address: 4 Second Lane, Tai Hang

"How to Carry a Mountain" is an interdisciplinary exhibition inspired by the traditional indigo batik craftsmanship of ethnic minority communities in Guizhou, China. Bringing together perspectives from anthropology, design, and contemporary art, the exhibition reflects on processes of making, transmission, and cultural memory.

The exhibition is rooted in the artist’s field research conducted over the past years in the towns and villages of Danzhai, Guizhou. Through video documentation, the artist records the practice of batik-making and the lives of its inheritors, while also engaging in hands-on learning of the craft. The exhibition unfolds as both a summary and an extension of this immersive experience.

Opening Reception: 16.5 (sat) | 4-7pm

16 May - 10 Jun, 2026 12:00 PM

Gallery address: G/F, 13A Prince's Terrace, Mid-Levels Central

Gallery EXIT presents ‘Dreams of the Pantomime Horse’, a group exhibition featuring works by Hilarie Hon, Lau Sze Man, and the artist duo Dorothy Wong Ka Chung and Benjamin Ryser. Taking its cue from the figure of the “pantomime horse”, a single animal body animated by multiple performers, the exhibition follows artists moving through a world in flux as they listen, gather, and bring back a constellation of stories to be shared within the exhibition space.

Opening: Saturday, 16 May, 2–5 pm

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

DE SARTHE is pleased to present Relationship Duplicates, the gallery’s second solo exhibition by Beijing-based artist Lin Zhipeng (No.223). A seminal figure in contemporary Chinese photography, 223 has long utilized the lens to explore the pluralistic forms of relationships. This exhibition highlights the tactile quality of relationships, where each intimate moment presents a sample of “duplicate”. The term “Duplicates” is redefined here. Far from being an imitation or a copy, these “duplicates” serves as a supplementation and extension of relationships. Without weakening or replacing the relationships, these lived excerpts preserve the nuanced emotions and secluded moments in each encounter. Presenting as a "black box" of modern intimacy, Relationship Duplicates opens on May 16th and will be on view until June 27th.

In this digital era, human connections are often mediated by screens that bridge geographical gaps but widen emotional ones, creating a paradox central to 223’s practice. For 223, while the rise of technology enables unprecedented convenience, it also isolates people, catalyzing a social atomization the younger generation has to navigate. Despite being an artist who rose to international recognition through social media and built his professional connections online, his work does not stem from technological motifs but reveals a strong focus on the physical world.

Opening: Saturday, May 16th, 3 - 7 pm

Gallery address:n 2/F, Block A, Vita Tower, Wong Chuk Hang 

Whitestone Gallery Hong Kong is pleased to present “Intersection”, an exhibition that brings together significant works of two new generation Japanese artists, Kisho Kakutani (b.1993) and Kosuke Harasawa (b.1997). Walking like city flâneurs, Kakutani and Harasawa explore themes of urban and natural life through a lens of nostalgia and change. Their works reflect the profound impact of urban development, capturing the rhythm of day and night and their interplay with personal stories.

Both artists capture the solitude and serenity of contemporary urban life through their delicate painting styles. Their works bridge vivid observations of reality with memories and the passage of time, leaving viewers with a lasting impression.

Opening Reception: 2026.05.16(Sat) 3 - 6 pm

Gallery address: 7/F, M Place, 54 Wong Chuk Hang Road

Pointsman Art Space is pleased to present After Epilogue, a solo exhibition by artist Judy Kong, running from 17 May to 19 June 2026. Centring on the cinema as a "liminal space," the exhibition comprises three atmospheric video installations that resonate with the unique experience of cinema culture and personal emotion.

In Hong Kong's fast-paced, efficiency-driven culture, the cinema, where one can surrender to light and shadow, remains one of the few spaces where people can truly pause. Kong's work captures the suspended moment after a film ends but before the lights return, creating three video installations that crack open a fissure between cinema and reality. Through these works, she constructs an atmospheric experience saturated with memory and emotion, inviting viewers to share quiet, intimate moments in darkness while honouring the cinema culture that is gradually disappearing.

Curator: Angel Leung

Opening Reception: 17.5, 4–6:30 PM

Gallery address: 119 Second Street, Sai Ying Pun, Please use the back entrance (Sai Wa Lane)]

HART HAUS invites you to step into Offscum: Offffffloor Edition, starting 18 May, featuring HART Studio Artist Duo Tracy Cheng and Shera Cho. Step into an immersive journey where flesh and technology collide in a near‑future world, and explore a convenience store offering radical body renewal that blurs the line between human instinct and machine desire.

Offscum: Offffffloor Edition, the immersive exhibition by artist duo Cho Sum Yuet, Shera (b. 2000, Hong Kong) and Cheng Lok Yi, Tracy (b. 2000, Hong Kong), returns for a second presentation at HART HAUS G/F following its successful debut at P’Artiste.

As their ninth collaborative work, Offscum delivers a compelling exploration of corporeality in a near-future posthuman era. The exhibition centres on the transformative yet strained relationship between implantable technology and human flesh. Through the primal pulse of muscle – the instinctive heartbeat of the body – it examines the fragile boundary between human and cyborg. In doing so, Offscum invites viewers to confront primal desires and their descent toward madness under the pressures of time, morality, and aesthetics.

Inspired by a futuristic convenience store, the exhibition presents a series of speculative technological products under the fictional #VitalAnew Convenience Store. These works offer a one-stop body-renewal service that promises to reconnect machines and flesh.

Gallery address: G/F, Cheung Hing Industrial Building, 12P Smithfield, Kennedy Town

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

“There is a special poignancy in reuniting Lê Phổ and Mai Trung Thứ, who journeyed from Vietnam to France together in 1937; Kojima and Foujita, Japanese compatriots navigating the École de Paris in the 1920s; and Lê Phổ and Foujita, who exhibited together in the late 1950s. Almost a century later, As the Ground Holds weaves together the unseen networks of migrant artists in Paris, allowing them to speak to a new era. In a time shaped by displacement, these artists show us how to hold onto a world within which we can no longer live, while feeling new ground beneath our feet.”

Rishika Assomull, Senior Director of VILLEPIN

VILLEPIN is pleased to present As the Ground Holds, a focused exhibition bringing together works by Léonard Tsuguharu Foujita, Zenzaburō Kojima, Lê Phổ, and Mai Trung Thứ—four artists who made Paris their home at a moment when the city stood at the forefront of modernism. This presentation marks Zenzaburō Kojima’s debut in a Hong Kong gallery, reuniting his work with that of his peers within migrant artist circles in Paris.

Gallery address: 53-55 Hollywood Road, Central

Celebrating 45 years of championing Chinese contemporary art, Alisan Fine Arts’ 2026 “Then and Now” programme honours early French-influenced pioneers while spotlighting today’s practices. This exhibition at the gallery’s Central Hong Kong location anchors the “Then” with Zao Wou-ki, Chu Teh-chun, T’ang Haywen, and Walasse Ting, francophone Chinese diaspora masters who fused Chinese cultural roots with post-war Parisian modernism. From Zao’s atmospherics and Chu’s calligraphic lyrical abstraction to T’ang’s meditative ink and Ting’s pop-bright sensuality, it maps a decisive shift that shaped global art—and sets the stage for a parallel “Now” exhibition at Alisan Atelier. Both are part of French May Arts Festival Associated Projects.

Opening reception: 21.5.2026 5:30 – 7:30 pm

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

This year in Hong Kong, L’ÉCOLE, School of Jewelry Arts, is proud to present Precious Coral, from Curiosity to Treasures, an exhibition dedicated to one of the most fascinating precious materials in jewelry history.

From May 23rd to October 11th, 2026, the exhibition at K11 MUSEA Hong Kong Campus brings together approximately 120 jewelry creations and exceptional specimens on loan from distinguished collections and institutions. The most significant presentation on campus to date, it proposes examining precious coral through three lenses: Biology and Gemology, Craftsmanship, and History.

Lenders include The Coral Museum - Liverino Collection, Chii Lih Coral Museum, the Van Cleef & Arpels Collection among others.

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

wamono art is delighted to announce the exhibition of Jun Tanaka, a Japanese metal artist whose practice explores the subtle transformations of space through form, balance, and material presence. This exhibition features Tanaka’s Mobile series.



Tanaka describes the metals he works with as materials that “melt and flow at extremely high temperatures at the Earth’s core, even generating gravity.” He further reflects that metals have given rise to free forms and structures shaped by human imagination. From these elemental properties, Tanaka felt compelled to extract pure form—to touch the resonance of primal energy embedded within metal. The Mobile series emerges from this pursuit, serving as an attempt to visualize that resonance and evoke sensations yet unseen. Each mobile is constructed upon a delicate balance between gravity and the Earth’s axis inherent in metal. As the work rotates freely in space, it embodies equilibrium, precariousness, and transience. Tanaka likens the mobile to a small Earth floating in space, leaving a distinct resonance within the senses of each viewer.


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

Ha Bik Chuen: 1960s-70s opens at Rossi & Rossi on 23 May 2026. The rarely seen sculptures and bas-reliefs that centre the staging of this exhibition had long been preserved in the apartment and studio of the late Ha Bik Chuen (1925–2009), and they offer a rare window into the early career of an artist in turbulent mid-twentieth-century Hong Kong. His transition from an apprentice of a renovation contractor to a full-time artist was a tale of will and intention, transferring his technicality in craft making and sensibility in materiality to his art practice.

Renowned for his diverse artistic practice, including sculpture, printmaking, photography, and collage, Ha's early works carry the experimental process to form a unique visual language informed by historical Chinese and modernist Western artistic influences. Self-taught, he trained his own eyes through a voracious consumption of art books and catalogues from overseas.

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

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

Bethany Man, Elizabeth Li and Aidan Ng are three Hong Kong artists who graduated from The Chinese University of Hong Kong’s Department of Fine Arts in 2023, 2024 and 2025 respectively.

This group exhibition is their effort to show how their generation prioritises agility when it comes to subject matters, materials and daily life in order to stay true to their artistic pursuits and what freedom means to them.

“Free Radicals", the exhibition title, refers to the category of molecules that are catalytic and highly responsive to their environments, unbound by stable structures, and essential.

The artworks taking over the Goethe Gallery and the Black Box Studio will demonstrate the importance of collaboration, while also spotlighting three unconventional practices that pertain to the "zeitgeist" of our time.

Gallery address: 14/F Hong Kong Arts Centre, 2 Harbour Road, Wanchai

When “utopia” is reduced to mere refuge, these subtle presences begin to operate as allegory. In the twenty-first century, the “global village” is increasingly experienced as unraveling, giving rise to a pervasive sense of homelessness. Some are displaced, others migrate; for many, what changes is the meaning of “home.”

In Zhou Zhang’s memory, “home” is less about family than about waiting—flickering television images and idle radio noise that stretch time. What is imagined as a place of grounding here appears suspended, drifting, and fragile.

Lodged in edges and crevices, these formations may never truly point to stability; instead, they register duration, consumption, and an unfinished act of dwelling.
Curator : Lí Wei

Opening reception: 23 May, Saturday 4:30-6:30pm

Gallery address: 10/F, Derrick Industrial Building, 49 Wong Chuk Hang Road

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

Poly Auction Hong Kong | Theirs & Ours: Intertwined Times Opens Tomorrow – When Paris Met the East

“Who would they have become, without Paris？”

Paris changed the stroke of a generation. In the “Années folles” of 1920s Paris, young souls from the East—Yun Gee, Sanyu, Pan Yuliang, Zao Wou-Ki, Chu Teh-Chun, Wu Guanzhong—learned to see anew. Classical order, Cubism, Surrealist dreams, unexpectedly fused with the calligraphy, ink, and poetry. Something unexpected was born.

The exhibition unfolds along three paths: the longing of exiles, the rupture and rebirth of tradition, and the rising edge of women's voices. This is a century-spanning dialogue between Paris and Asia.

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.

Opening Reception: Thursday, May 28, 5–7 PM

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

M+M Gallery is honored to present Li Fang’s first solo exhibition in Hong Kong. The show features her works on paper from the 1960s, establishing poetic connections between the material and the psychic, tradition and modernity, and East and West, with a gentle yet enduring strength.

Gallery address: 19/F, Winsome House, 73 Wyndham St, 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. 

Opening Reception: 28 May, 2026, 5:00 – 8:00 PM

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

As part of Alisan Fine Arts’ 45th anniversary programme Then and Now, this exhibition at Alisan Atelier runs parallel to The Chinese Avant-Garde in Paris at our Central gallery, with both exhibitions part of this year's French May Arts Festival Associated Project. Where the “Then” honours the francophone Chinese masters who forged modernism in post-war Paris, the “Now” gathers four contemporary artists—Li Donglu, Qi Zhuo, Shi Qi, and Yao Qingmei—who currently live and work in that same city. Each has created and selected works specifically for this exhibition, transforming inherited materials, images, and ideas within contemporary spatial and conceptual frames to recast lineage as a living engine for the present.

Opening reception: 28 May, 2026, Thursday, 6pm–8pm

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

Gagosian is pleased to announce Lifting the Veil, an exhibition of works by James Turrell that opens on May 28. The exhibition surveys the artist’s practice of shaping light and perception with holograms, prints, and three Glasswork pieces, along with site plans, photographs, and models of Skyspaces and Turrell’s magnum opus, Roden Crater. Turrell’s Skyspaces are individual architectural chambers with an aperture in the ceiling open to the sky; framing its expanse and incorporating both natural and artificial light, they amplify the senses. Under construction since 1977, Roden Crater is an unprecedented large-scale artwork created within a volcanic cinder cone located in the Painted Desert region of Northern Arizona.

For over five decades, Turrell has pushed the limits of perception through a practice centered on light as his primary material. Beginning in the 1960s with installations of projected and natural illumination in his studio in Santa Monica, California, his focus has been on the materiality of light and its ability to shape experience. The artist explains: “Generally, light is used to reveal something about the object. I use light as the revelation itself.” In the context of Hong Kong, a city defined by density, verticality, and luminous intensity, Turrell’s work invites a recalibration of perception, proposing light not as spectacle, but as a contemplative and durational encounter.

Opening reception: Thursday, May 28, 6–8pm

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

The Asian Avant-Garde Film Festival returns for its third edition, Space Enter Shift. Across the vibrant three-day event, pioneering artists and filmmakers from different parts of Asia come together to explore the topic of space through transformative time-based media presentations.
From screenings, exhibitions, and performances to talks, workshops, and live acts, the festival presents works that thrive beyond the confines of mainstream culture. Participants are invited to make new connections across artistic disciplines and experience a shared sense of community. Collectively, these explorations point towards possible futures through reflections on power and capital, surveillance, ecological and geopolitical crises, and the increasing fluidity between physical and virtual realities.

Details, full programme, and booking

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

Axel Vervoordt Gallery is pleased to present Scroll Paintings, a solo exhibition of works by Mexican artist Bosco Sodi. This marks Sodi’s sixth solo presentation with the gallery and his second in Hong Kong since 2020. Known for his richly textured, vividly colored paintings, Sodi’s practice focuses on material exploration, the creative gesture and the spiritual connection between the artist and his work. Scroll Paintings debuts a new body of work that emerged from the extended time the artist spent in his Kyoto studio over the past few years. There, immersed in a different kind of silence, Sodi turned his attention away from building mass, towards something more elusive: holding a moment. The resulting paintings are quiet yet profound contemplations of time, expressed through languages of materiality and form.

Opening reception: 30 May, 2-6pm

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

Ora-Ora will be presenting the first solo show at Ora-Ora by Chinese contemporary artist Jiang Heng, titled: The Substance of Mirage.

The artist, native of Guangdong Province in southern China, invites us, at an individual and at a societal level, to question what is real and what we choose to value, probing the impermanence or durability of cultural norms in a world of speed and production. Cherished viewpoints, traditions and customs may evaporate in the hunt for material advancement and fleeting pleasure.

The Substance of Mirage will focus on two series of the artist’s works: “Artificial Hairs,” vividly coloured paintings, and “I Divided My Body Into Pixels For You,” his textured, layered, sculptural colour and wood installations.

Opening Reception: May 30, 2026 (Saturday) 3:00 pm - 6:00 pm

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

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

Kila’s creative practice stems from a profound state of being—an ongoing, raw exposure to the world. For him, creation is not a calculated, deliberate construction, but an almost instinctual response to existence. Whether absorbing the mundane trivialities of daily life, local or international events, meaningful encounters, or the white noise of everyday experience—be they tangible realities or AI-generated ephemera—he internalizes them all until the irrepressible urge to create takes over. These seemingly fragmented and disparate perceptions form the vital bedrock of his artistic practice.

Opening Reception: May 30, 4PM
Gallery address: 20/F, Landmark South, 39 Yip Kan Street, Wong Chuk Hang

"We are the sea, we are the ocean," declared the Fijian thinker Epeli Hauʻofa in the 1970s, seeking to free Pacific islanders from the narrow confines of their isolated islands. Rather than thinking from the land, he urged a shift in perspective, to see from the ocean's vantage point. Suddenly, a vast horizon unfolds and no island remains alone. Instead, they form a continuous network, a sprawling archipelago that stretches far beyond Polynesia itself.

In her practice, Josephine Turalba makes a similar call. The Filipino artist sees the ocean as a powerful connector, linking continents, cultures, and peoples through a constant circulation of flux. Shifting away from human-centered notions of time and space, her recent works embrace an oceanic perspective, making room for marine creatures and fluid, watery ways of being and perceiving the world. For Turalba, it is essential to invent new myths, not in order to escape reality but to better face our troubled times.

Like the sea that constantly churns everything together, the artist continuously mixes techniques, cultural and natural elements, myths and facts, following an original process of assemblage. For more than ten years, she has been creating tapestries made of leather pieces, cartridges, and embroideries, combining traditional know-how with contemporary components. Bullet casings morph into slippers or pets, shoe soles become colorful manta rays or surveillance satellites. Turalba cuts, sews, moves, and recontextualizes the objects and beings that populate our world, highlighting the multiple interconnections that bind us. With her, mermaids drift alongside the pulses of submarine sonars, while octopuses blur into satellites. We move seamlessly from Philippine legends to new technologies, reflecting worlds that both interlock and clash.

Artist’s and Curator’s Talk: 6 June 2026 (Sat) 3-4pm

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

In a digital age increasingly disrupted by artificial intelligence, we are compelled to pause and ask: what singular and irreproducible value does art continue to preserve in today’s world?

 As a companion and witness to his artistic journey over the past decade, I have observed firsthand his profound dedication — akin to a quiet, meditative practice — and his unyielding exploration within artistic creation. Furthermore, I have seen how he channels this passion into his role as an art educator, nurturing the next generation of talent. As an ink art curator and enthusiast, I am profoundly moved, time and again, by his sheer praxis and dedication.

This resonance stems from the seamless harmony he strikes between tradition and innovation. Within his oeuvre, one finds both a steadfast commitment to the foundations of traditional ink and a contemporary vision that disrupts conventions. He meticulously constructs a vast yet intimately whispered ink "universe," through which he seeks to forge an invisible conduit to the depths of the human psyche.

Gallery address: Shop 103 & 202, 1-2/F, Block 3 Barrack Block, Tai Kwun

gdm Hong Kong is honored to present Tang Chang: Into the Heart-Mind, the pioneering Thai artist’s first solo exhibition in Hong Kong, on view from June to August 2026. Curated by Sheryl Gwee, the exhibition meditates on Tang Chang’s iridescent visions of being — in the world, and in existence — situating his radical oeuvre within the intertwined legacies of poetry, painting, and philosophy.

Tang Chang: Into the Heart-Mind is a meditation on the poet and painter Tang Chang’s iridescent visions of being — in the world, and in existence. Born into a working-class immigrant Chinese family in Thonburi, Bangkok, Tang Chang was a self-taught artist who went against the mainstream of Thai modern art, developing a distinctive, idiosyncratic personal idiom. His stylistic nonconformity, his diasporic status, his staunch anti-commercialism, and his eccentric persona meant that questions of place and positionality were never far from his life and work.

From free-spirited, calligraphic renderings of the Chao Phraya River to dazzling, prismatic vignettes of the sun-drenched fields and narrow alleyways near his home, Tang Chang returned, time and again, to portrayals of his immediate environment — and where he stood in relation to it.

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

dreamedcore, the second exhibition at GOLD by Serakai Studio, presents a multi-sensorial exploration of digital-age nostalgia, bringing together artists, designers, fashion labels, and creative studios from across Asia. Taking on the format of an art exhibition, concept store, and runway show, dreamedcore looks at how a new generation is re-imagining visual culture—conditioned by increasingly fluid channels of production and distribution—and constructing dreamy worlds from internet nostalgia and hazy atmospheric tones.

dreamedcore begins with a feeling: late-night strolling through empty streets, vacant malls, and softly lit corridors that seem both distant and strangely familiar. The exhibition proposes treating the algorithmic aesthetic of “dreamcore” — which draws heavily on visual textures from the 1990s and early 2000s — not simply as style or subculture but as a generational condition. For artists, designers, and creative practitioners born in the 1990s, growing up amid tremendous urban change and now hitting their 30s, such imagery returns as hazy afterimages of an uncanny world, shaped as much by platform circulation and algorithmic repetition as by lived memory itself.

dreamedcore is therefore less about direct recollection than a collectively reconstructed atmosphere, assembled through memory, platforms, and circulating images. Featuring twenty-two emerging multi-disciplinary artists and creative practitioners from Asia, the exhibition maps out how we remember, adapt, and resist within an age of endless imagery and accelerating information. Between digital archaeology and future fantasy, the exhibition traces the emotional pulse of a generation shaped by overload and longing. 

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

Shimon Kamada (b. 1997, Japan; lives and works in Rotterdam) channels personal memory and subconscious reveries into his evocative oil paintings. Drawing from his sentimental photo archives, Kamada constructs layered compositions that fuse figuration with abstraction, exploring the fragility of time, the inevitability of loss, and the elusiveness of memory. His canvases, marked by skewed light, uncanny shadows, and dystopian atmospheres, evoke a haunting suspension that unsettles viewers and surfaces latent trauma. Through complex narrative stratifications, Kamada invites multiple, often ambiguous interpretations, transforming intimate recollections into universal meditations on nostalgia, alienation, and the porous boundary between reality and dream. His practice extends to woodcut prints and the reworking of secondhand canvases, emphasising the process and accumulation of memory’s layers. He won the Ron Mandos Residency Award (2020) and worked at Brutus Lab in Rotterdam (2021) as an artist-in-residence. He has participated in group exhibitions including Van Nelle Fabriek, Rotterdam (2024), Enari Gallery, Amsterdam (2023), ARWE Gallery, Gouda (2022), Wilford X, Temse (2022), Felix Solo Gallery, Nijmegen (2021), Atelier of AVL Mundo, Rotterdam (2021), Het HEM, Zaandam (2020), among others.

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

Double Q is pleased to present a solo exhibition of new works by British artist Tomo Campbell, on view at the gallery from 17 June to 8 August 2026.

Drawing inspiration from Neoclassical, Rococo, and Flemish art, Campbell's  expressively reinterprets classical subject matters through rhythmic movement, romantic imagination, and a subtle surrealistic charm. His recurring motifs — such as ancient Greek gods, horses, and hunters — appear as though they could slide into distortion or abstraction at any moment, transforming the gallery space into something that feels like a recurring dream.

Gallery address: 68 Lok Ku Road, Sheung Wan

The Hong Kong LGBTQ+ Archive of Printed Matter from the Pre-Internet Era is a comprehensive online resource preserving the vibrant history of Hong Kong’s LGBTQ+ communities before the internet. With around 1,000 items—including group newsletters, indie zines, handwritten letters, AIDS education leaflets, government consultation papers, event promotions, and more — the archive offers a rare glimpse into activism and daily life from the early 1990s to the 2000s. Archives are fascinating. They capture the past, yet shape the future. Their true potential lies in how people use them, continually expanding their meaning and relevance.

This exhibition brings together seven Hong Kong queer and trans artists, spanning generations from their twenties to their sixties, who respond to archival materials from Hong Kong’s LGBTQ+ printed matters of the pre-internet era. Working across a range of media, including video art, computer game, mixed-media sculpture, installation, poetry, encaustic art, and expanded photography, the artists engage with the archive not as a record of the past, but as living memory for the future. The exhibition opens up possibilities for how history is appropriated, reimagined, and woven into visions of queer futurity across time.

Exhibition Artists: 歐健韋 Johnny Au, 陳庭 Chan Ting, 張紫茵 Dorothy Cheung, 麥海珊 Anson Mak, 鮑藹倫 Ellen Pau, 黃雪綾 Beatrice Wong, 葉晉瑋 Eric Yip, Veegay

Opening reception: 18 June, 7:30pm

Gallery address: 4/F EATON HK, 380 NATHAN ROAD, JORDAN

Blue Lotus Gallery presents City of Lights, an extensive archive by photographer Keith Macgregor documenting Hong Kong’s neon-drenched skyline of the 1990s and 2000s. The book, featuring hundreds of previously unseen images, and accompanying exhibition serve as both a record of the city's iconic neon signage and a tribute to a bygone era: a time when these signs shaped the city's visual identity.

“Like so many others, I took neon for granted when I was younger, viewing it as urban wallpaper rather than investigating the creativity, skill, engineering, and imagination needed to create these dynamic, superb works of art,” said Macgregor. Through hundreds of vivid, previously unseen images, he captures the restless energy of a city defined by its illuminated streets.

At its height in the 1980s, Hong Kong’s skyline shimmered with more than 100,000 neon signs. Today, fewer than 400 remain. City of Lights arrives at a pivotal moment, when the urgency to document and preserve this vanishing heritage has never been greater. A renewed fascination among Hong-Kongers is evident in the success of recent exhibitions at the Hong Kong Design Institute and Tai Kwun, presented in partnership with Tetra Neon Exchange (TNX), reflecting a collective desire to reconnect with and safeguard this defining chapter of the city’s visual history.

Gallery address: 28 Pound LaneTai Ping Shan

The local Cantonese slang 拍住上 (paak zyu soeng, loosely translated as “partner up”) is a vivid idiom literally depicting people patting each other’s shoulders while overcoming hardships together. Extending this expression, camaraderie moves them forward in lockstep. In the world of film, 拍 (paak) is a key part of the production process, as the camera rolls steadfastly in capturing stories for the silver screen. It is the only way through which filmmakers better themselves.

Countless classic Hong Kong films feature characters “partnering up” in times of crisis—most obviously in action adventures, where emotional sparks make cinematic thrills even more riveting, with protagonists torn among feelings of amity, justice, trust, suspicion and betrayal, perhaps even (momentarily) losing their bearings. What remains constant is the final moment, when disparate forces form a united front against a common enemy, attesting to an essential human attribute: Since we’re in the same boat, we’re on the same team.

Aren’t the above Hong Kong people’s cherished values?

The first duty of great films is to bear witness to their times. Black Rose from the 1960s exudes conventional chivalrous virtue. In the 1980s, Aces Go Places addresses the issue of elitism. Among the films of the 1990s, Once a Thief remains the quintessential embodiment of romanticism, Police Story III: Super Cop accentuates cultural integration, and Gen-X Cops witnesses an inter-generational passing of the torch. From the 2000s, Rob-B-Hoodexamines post-millennium changes in human nature, and by the 2010s, Blind Detective highlights what it takes to become strategic partners. Most recently, Rob N Roll follows men from disparate backgrounds meeting along the same track. All of these bear testimony to our changing times and increasingly complex web of interrelationships.

Wayne McGregor: On The Other Earth, the world’s first post-cinematic choreographic installation, refracts, evolves and reimagines dance performance in a startlingly original new form of experience.      

Co-produced by Hong Kong Baptist University, Hong Kong Ballet, and Studio Wayne McGregor, London, the 57-minute programme is set within Jeffrey Shaw and Sarah Kenderdine’s radically immersive, panoramic, 360-degree stereoscopic, 12k LED, 26-million-pixel nVis screen, where 3D imagery is experienced within an enveloping, large-scale cylindrical architecture of eight metres wide and four metres tall. Created in collaboration with artists Ravi Deepres and Theresa Baumgartner, and combining dance, choreography, digital imaging, spatialised sound, and AI, McGregor once again redefines how we think about movement, the body, and performance.    

Wayne McGregor: On The Other Earth breaks the fourth wall as visitors are invited into the heart of the dance, connecting in close contact with the hyperreal dancers of Company Wayne McGregor and the Hong Kong Ballet. Never encountered in the same way twice, groups of up to 20 people will experienceWayne McGregor: On The Other Earth’s visual and sonic landscapes unfolding before them in a series of thought-provoking otherworldly encounters and intimate interplay, upending our perceptions of performance and the future of entertainment.

Regular Ticket: HK$120

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+

White Cube is pleased to present Shigeo Otake’s (b.1955, Kobe, Japan) first solo exhibition in Hong Kong. Informed by over four decades of exploring figurative painting – which began with meticulous studies of parasites and the transformative morphology of Cordyceps – Otake’s work has gravitated towards the notion of agora in recent years. The Greek word for ‘gathering place’, agora, functions here as a site where the exchange of commodities serves as an externalisation of belief structures and value registers.

Employing tempera to create densely populated scenes, Otake envisions a collective participation with anthropomorphic figures and botanical forms to draw parallels between organic growth and public assembly. By way of the marketplace and its many textures, Otake engages with systems of circulation, the logic of consumerism and dynamics of reciprocity, all of which have come to define sociality in the 21st century.

Gallery address: 50 Connaught Road Central

Tai Kwun Contemporary presents a solo exhibition by Berlin– and Hong Kong–based artist Isaac Chong Wai, who will debut a new live art commission exploring gender performativity. 

Building on his recent performance projects revolving around the tensions inherent in human interactions, Chong revisits scenes of stage rehearsals and film sets, taking the 1993 film Farewell My Concubine as a point of departure.

Over four weeks, the exhibition will transform the 3/F gallery into a monumental installation comprising metal structures, etched glass, mirrored panels and textiles. Dancers will perform a series of choreographed movements, drawing references from film scenes and gestures from Peking Opera. Staged in the exhibition space, the performers will bring the audience into direct bodily confrontation with their movements. 

A boundary-breaking experiment across different art disciplines, Chong’s new exhibition at Tai Kwun challenges viewers to reconsider ingrained perceptions of identity.

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