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

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

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

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

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

"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

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

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

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.

Udatsu Sushi Hong Kong is pleased to announce the solo exhibition of Hong Kong-based artist Leung Lai-man, Jess. The exhibition features eight of the artist's most recent works on silk.

In 1150, court painter Su Hanchen of the Song Dynasty created Children Playing in an Autumn Garden, which depicts two children—a girl and a younger boy—playing within a palace garden. Both children, with expensive clothing and ornaments, against an abundance of toys and blooming flowers, seem utterly absorbed in the jujube fruits spinning game. The delightful painting is often described as emblematic of a shift in Chinese art, where people other than wealthy Chinese men were allowed to "take centre stage in the world of art and are presented to us as fully individualized human beings". Could Su have known a study of the painting continues to celebrate the purest form of joy human beings (perhaps—several centuries later—more socially and technologically advanced) created simply by playing? With brilliant gongbi brushwork and a delicate colour scheme, artist Leung Lai-man strips away the exuberant garden scenery, focusing on the children’s delightful attentiveness and playfulness in Study of “Children Playing in a Garden in Autumn” (detail). The work invites the viewer to experience the pure, innocent happiness captured through total immersion in the present moment.

The juxtaposition of Study of “Lady holding a fan” by Ren Xiong and Laibie presents Leung’s deeper exploration of joy and delights through women's fashion. Across time and space, societies repeatedly request women to be constantly dressed. Women, often through formal wear, gather enormous transformative power and reveal the clothing as an extension of their true emotions. The works detail both ladies’ complex yet graceful layered dresses and elaborate headwear and accessories with intricate strata of colours and strokes, revealing the unconscious blissfulness and collective female grace take symbolic form under the extravagant frocks. Works Pick/Play: Ten and four pieces from the artist’s Dolly Land x Blind Box series are also on view.

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

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

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

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

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

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

For more than five millennia, Chinese civilisation has developed continuously, shaped by a long tradition of cultural openness and dynamism. These enduring qualities have sustained the vitality of Chinese society and culture across time. The Ming (1368–1644) and Qing (1644–1911) dynasties inherited the established systems of governance and moral lineage of earlier periods. Through diplomacy and trade, they engaged with a wide range of regions and communities, encouraging dialogue, exchange, and mutual understanding across cultures. As the imperial palace of the Ming and Qing dynasties, the Forbidden City not only served as the centre of political power but also provided a platform for interactions between China and the wider world. Its architecture, artefacts, and stories carry the imprint of history, and its history attests to more than five centuries of cross-cultural encounters, involving the flow of goods, technologies, arts, ideas, and cultures. Together, these exchanges inspired creativity and transformation in world civilisations.

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

WKM Gallery is delighted to present Japanese artist Iori Nagashima’s first solo exhibition in Hong Kong, BETWEEN. Known for his soft, subdued oil paintings of everyday objects and daily routines, the exhibition will showcase the evolution of Nagashima’s paintings following his extended residency at SIDE SPACE. The series of new works revolves around motifs and subjects he encountered in the city and local community, reflecting his immersion into the complex layers of Hong Kong.

Nagashima’s still lives and figure paintings are defined by absence as much as presence. In his canvases, shadows and shades of grey are sources of energy: evidence of a waxing ray of sunlight crawling from one side of the room to the other, the scent of a quiet summer noon drifting in through an open window, the lingering warmth of a body recently departed. Items well-loved or well-used often serve as subject matter (clothes and shoes left strewn about, an alarm clock on standby), but within this exhibition, we find subtle hints that the artist is no longer in Tokyo.

Opening Reception: 6 June 2026 | 4 - 8 pm

Gallery address: 20/F, Coda Designer Centre, 62 Wong Chuk Hang

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.

Opening on 11 June, 5 – 7 pm

Gallery address: 8 Queen's Road, Central

A preeminent connoisseur and scholar-artist based in Hong Kong, Mr Wong had built an extensive and significant collection through a lifelong engagement with great works of successive dynasties. He possessed particularly profound knowledge of the principles, techniques, and aesthetics underlying paintings and calligraphic works from the Wei and Jin to the Ming dynasties (3rd–17th century). This expertise enabled him as an artist to cultivate a personal style steeped in classical traditions yet distinguished by a lyrical, poetic quality all his own. Mr Wong stood out as a true modern heir to China’s time-honoured literati tradition.

From 2025 to 2026, Mr Wong Kwan Shut and his spouse Mrs Wong Pong Chi-ying generously donated 68 works to the Hong Kong Palace Museum, including representative works by Mr Wong, works he created in collaboration with his friends, as well as classical paintings from his collection. Dawning on this important donation, the exhibition pays homage to an exceptional scholar-artist, who conversed with and emulated ancient masters with his eloquent brush.

PODIUM is proud to present “Phantom(’s) Presence”, Rotterdam-based Japanese artist Shimon Kamada’s first solo presentation with the gallery and in his career.

In this new body of work, Kamada draws from his photo archives that span his childhood and teenage years in his hometown in Japan, conjuring realms where these images drift, overlap, and intertwine like fragmented memories.

From hometown streets and domestic settings to scenes of natural sublimity and surreal dreamscapes; the artist bathes each composition in skewed light, melancholic shadows, and psychological tension to render a series of enigmatic narratives, revealing the fragile and elusive nature of remembrance.

Opening reception: 13 June (Sat) from 2 to 7 PM

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

WMA presents Bones of Our Land, a new commissioned project for its 2025/26 theme Hope. Created by artist Tsz Wai Pun and ecologist Coşkun Güçlü, the project focuses on a single hillside undergoing ecological restoration on the Northern slopes of Tai Mo Shan, tracing its ecological and human history and reading its soil as a record of recent ecological change and deep evolutionary time. Through its layers and transformations, the project rethinks time as something that accumulates at multiple scales—and considers how this way of seeing might help us remain attentive to one another and move forward together, even in the midst of uncertainty.

Through film, sound, archival materials, fieldwork, and soil DNA analysis, the artists approach the hillside as a palimpsest—a landscape continuously rewritten across centuries and beyond. Volcanic geology, agricultural history, destructive hill fires, colonial intervention, and ongoing ecological restoration are all layered within the same landscape. In this reading, a single hillside becomes a site of entanglement, where past, present, and future do not unfold in sequence but coexist and refract through one another. Bones of Our Land invites us to listen anew to the soil, the forest, and the living archive buried beneath our feet.

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

The University Museum and Art Gallery, The University of Hong Kong is honoured to present 100-Story 100 Stories: Toshio Iwai’s Art Journey. As an internationally acclaimed illustrated book author and multimedia artist, Toshio Iwai firmly believes that creativity does not stem from a distant, unattainable talent, but rather from the textures of everyday life. In a world that is rapidly becoming digital and increasingly shaped by artificial intelligence, hand-made objects and human companionship are especially precious. 

The exhibition opens with the famed picture book series The House with 100 Stories, which is a favourite among children around the globe. Each floor holds a world of whimsical imagination. These stories inspire children to explore fearlessly and invite adults to rediscover curiosity and simplicity in their everyday life. Iwai’s creative journey began with a father’s love for his daughter. Starting from a simple numbering game, he wove fun and learning together through a distinctive visual language, creating picture books that accompanied her growth. Through visual associations, he guided her into realms of imagination. His works are a vivid reflection of the harmony between family bonds and creativity—within the pages flows not just a story, but the passing of imagination and affection across generations. 

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

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.

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.

Thu  18 June, 5-8pm: Private Preview
Sat 20 June, 2-4pm: Talk with Cardin Chan & Keith Macgregor

Gallery address: 28 Pound Lane. Tai Ping Shan

Hong Kong Design Centre (HKDC), with lead sponsorship from the Cultural and Creative Industries Development Agency (CCIDA), proudly presents Digital Emotions — From Electric Pulse to Human Touch, an all-new digital media exhibition co-organised with the Consulate General of the Czech Republic in Hong Kong and Studio TIO.

Running from 19 June to 31 August 2026 at The Gallery, 1/F, DX design hub, the exhibition is co-curated by Pavel Mrkus (Czechia) and Man Tin (Hong Kong) and brings together fifteen leading contemporary digital artists and designers from both cities. Working with algorithms, pixels, and data streams as a shared creative language, the participants explore how technology reshapes human perceptions of distance, identity, and connection — revealing the emotional reach of digital creativity across geographic and cultural boundaries.

Venue address: DX design hub, The Gallery, 1/F, 280 Tung Chau Street, Sham Shui Po

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.

Following a successful showcase in London Craft Week 2026, Crafts on Peel, a local non-profit charitable foundation based in Hong Kong, re-showcases an exhibition titled Creative Cross-Pollination: The Future of Crafts from June 23, 2026 to October 10, 2026, debuting two exquisite artworks – Huimin Zhang’s Summer Blossoms and Inkgo Lam’s The Big Ben.

The exhibition features a variety of craftworks that create a crucible for innovation – the convergences between traditional masters’ disciplined techniques and contemporary designers’ and artists’ forward-thinking visions. It will be held at Crafts on Peel’s creative venue located at 11 Peel Street, Central, a rejuvenated historical building located in the heart of Hong Kong. The Foundation dedicates itself to reviving, reinterpreting and perpetuating traditional craftsmanship by fostering cross-regional, -generational, and -disciplinary collaborations between traditional craftsmen and contemporary artisans.

Central to this exhibition is the concept of “creative cross-pollination”—a dynamic process where seemingly disparate ideas and techniques, drawn from diverse sources with traces of common ground, are brought together to generate something entirely new. Debuting first at London Craft Week 2026, the exhibition now brings together 7 groups of local and international artisans to create 7 groups of work that transcend boundaries and topple conventions.

Please register for a tour.

Venue address: 11 Peel Street, Central

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

University Museum and Art Gallery, The University of Hong Kong

MASSIMODECARLO is pleased to present Why the Butterflies , Nicole Wittenberg's first exhibition in Asia. The new paintings of coastlines, flowers and gardens at dusk are each made in a single day and never reworked, painted in the narrow window before a feeling becomes tangible. Prince recorded the album Piano & A Microphone when he was twenty-four years old. The album is a 34-minute recording of Prince in his home studio at his own piano with a microphone. You can hear him at the beginning of the recording calling out to the sound editor to balance the relationship of the voice and the piano. Within this 34-minute cut, we can hear some of Prince’s most iconic songs move seamlessly from one to the next-- beginning with 17 Days flowing right into Purple Rain and transitioning directly to a Case of You. When we think of Prince as a musician, we think of discrete movements, spanning decades, yet this album makes clear that Prince, through all of his different periods, was just one man, one artist and the vision he had for his work was continuous. This album was not released until 2018, two years after his death. The final track is called Why the Butterflies and the entire album was continuously playing while Wittenberg painted the works for this show. The parallel is exact: each canvas made in a single take, never touched again.

Gallery address: Shop 03-205 & 206, Barrack Block,Tai Kwun, Central

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+

The Living Field, a solo exhibition by contemporary artist Lao Tongli, will be presented at INKstudio, Hong Kong, beginning July 2, 2026. It is the third exhibition presented since the opening of INKstudio’s Hong Kong space, as well as Lao Tongli’s first solo exhibition in Hong Kong. As Lao’s latest exhibition at INKstudio following his 2024 solo exhibition Iconology of Life: Lao Tongli's Experiential Semiotics of Living Systems at INKstudio, Beijing, this exhibition takes his long-developed practice of gongbi heavy-color painting as its thread and presents his sustained exploration of the body, nature, memory, and living systems.

Opening reception: 5-7pm

Gallery address: Shop 03-104, 1/F, Barrack Block, Tai Kwun, Central

KC100 Art Space presents Genius Loci - An Exhibition of the Work of Francesco Lietti and Martin Riese.

"Genius Loci" is defined as the "spirit of a place," referring to the unique, distinctive atmosphere, character, or perceived "soul" of a specific location. The artworks in this exhibition reflect a deepening of the artists' ongoing research and expressions related to this theme. 

Drawing on their architectural training and experience, they continue to explore the multiple perspectives of cities, seeking the spirit of place and the collective emotions of those who inhabit them.

Venue address: 100 Kwai Cheong Road, Kwai Chung

Ben Brown Fine Arts is pleased to present Nature, Abstracted, an exhibition curated by New York-based curator and advisor Sean Zhang. The exhibition brings together twelve artists whose practices share a sustained engagement with the logic of the natural world.

The exhibition takes as its premise a statement Gerhard Richter has returned to across decades of practice: that nature possesses an inherent logic, a structural intelligence in the behaviour of water, the branching of trees, the stratification of earth, and that abstraction, at its most ambitious, aspires to embody that same intelligence.

What unites these twelve artists, across generation, geography, and medium, is a shared conviction that the most rigorous abstraction is never a departure from the world but a deepening of attentiveness to it. The works in this exhibition are unsparing.

Harold Ancart, José Parlá, Yoan Capote, Daisy Parris, Kristy M Chan, Gerhard Richter, Cheng Ting Ting, Hiroshi Sugimoto, Jennifer Guidi, Ena Swansea, Emma Mcintyre, Merril Wagner

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

Empty Gallery is pleased to present our first solo show with Shanghai based artist Ann Zhao. Both intimate meditation and trenchant diagnosis, Zhao’s exhibition attempts to grapple with what might be called the use and abuse of art for life.



Opening reception: Saturday, July 4, 6–8PM with a performance by MAI Mai at 7PM



Gallery address: 19/F Grand Marine Center, 3 Yue Fung Street, Tin Wan

DE SARTHE is pleased to announce its ninth annual de Sarthe Residency (deSAR), featuring resident artist Lau Wai. Transforming the gallery into an open studio, Lau will create new artworks in the space and invite the public to witness their creative process during normal gallery hours.

Lau’s practice investigates the destabilization of human identity in the face of rapid technological advancement. Inspired by the hidden labor of CGI actors behind digital facades, Lau has created their own digital replica, W.A.I. with motion and facial capture as a means to explore how technology reshapes our identities. During the residency, Lau will produce multi-channel and single-channel new video works and a single-player digital game. The videos will feature the life of the original person behind W.A.I. and the "humanizing process" of their digital clones, while the interactive game will position the audience as masters of W.A.I.’s fate, controlling the character as she attempts to escape or face being homogenized. Lau’s creative process offers visitors a real-time look into the digitization of humanity, prompting questions about our very existence as we enter a digitized future. As the line between the physical and digital realms blurs, how do we define our existence? Will we eventually be consumed by our own creations? Do we truly possess autonomy and self-consciousness?

Residency: July 8th–September4th, 2026

Exhibition: September 5th–26th, 2026

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

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.

Artist tour: 5pm, followed by a champagne reception until 8pm

Gallery address: 50 Connaught Road Central

It is hard to believe that twenty years have flown by since I first met Sio Kit. We were classmates at the Academy of Fine Arts. Although we now live in different cities, growing up in former colonies has imbued us with a shared aesthetic sensibility. The first time I encountered his work was his graduation piece in 2006—close-up portraits of the facades and roofs of colorful European-style buildings. It inherited that calm, detached gaze toward everyday scenery reminiscent of the Spanish master Antonio López García.

Throughout seven years of rigorous training at the academy, the spirit of grand xieyi (freehand expression)—which emphasizes brushstrokes and material texture—was deeply imprinted into his creative DNA. Returning after graduation to Macao, a city that is leisurely and poetic yet saddled with a monolithic economy, persisting as a full-time artist has been no easy feat. For the past twenty years, he has faced his canvases and drawing boards in low-profile silence, using this identity to resist his environment, allowing his style to evolve through several stages born of unremitting focus.

Opening reception: Thursday 9 July 2026 | 6-8 pm

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

Through form, all things come into being. Neither fixed nor absolute, form is a continuous state of becoming through which the unseen gradually reveals itself. Matter and spirit, memory and imagination, thought and emotion are not separate conditions, but different manifestations of the same unfolding process. Form is not merely what appears; it is the trace of transformation itself.

Bringing together seven artists from Hong Kong, Indonesia, France, Lithuania, and Germany, FORM explores the many ways in which shape emerges through artistic practice. Across ceramics, photography, installation, painting, and textile works, form is examined not merely as an outward appearance but as a process of transformation, perception, and becoming.

Opening reception: Friday, 10 July 2026, 6 — 9pm

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

Cheng-Lan’s Corner is pleased to announce its second exhibition, Home, A Fire, a series of paintings, sculpture, and installation works drawn from the Cheng-Lan Foundation collection by curator Junni Chen. Bringing together works by ten international artists: Miguel Afa, Shiraz Bayjoo, Agrade Camiz, Chen Kong Fang, Laila Tara H., Li Chen, Lidia Lisboa, Narges Mohammadi, Yoshitomo Nara, and Sofía Salazar Rosales, the exhibition marks the first time several of these artists have been presented in Hong Kong.

The exhibition echoes the appearance of a home, each work referencing furniture, household items or domestic architecture. Seemingly innocuous at first glance, the works on view are the result of each artists’ internalisation of various agitations and pressures. From Laila Tara H’s Takhté (Backgammon)—which references her act of viewing revolutionary protests in Iran from a distance, in her own bedroom— to Sofia Salazar Rosales’ They Ask to Stay—which points to objects extracted from commodification and forced mobility. What is revealed through the exhibition is how our living spaces can bear the emotional weight, ambivalence and accumulated stress of dealing with socio-political forces that affect the small acts of our daily lives. Collectively the works contemplate how the home is where we formulate our own self-concepts of selfhood, belonging and identity. In addition it points towards how the act of artmaking can still be rooted in domestic, intimate environments, while addressing broader global crises and conditions.

An exhibition curated by Junni Chen

Preview reception: 6.30pm - 8pm

Gallery address: G/F, No.03 Princes Terrace, Mid-Levels

This exhibition presents the works of Hong Kong experimental ink artist Wesley Tongson (Tang Jiawei 唐家偉, 1957-2012), demonstrating how the artist’s lifelong exploration of ink and different spiritual philosophies all interweaved to ultimately serve as outlets for his struggles with mental health and questions of gender identity. 

The title of the exhibition, Singing and Dancing with Brush and Ink, originates from one of Tongson’s seals used to sign his works. The idiom captures the artist’s deft, dynamic handling of the brush and playful approach to ink. Tongson’s life and works emerge in the five sections of the gallery, unpacking specific themes of his career. Rare early works highlight the artist’s foundational study and mastery of traditional Chinese brush techniques and strong understanding of Chinese art history, a foundation upon which he experimented and innovated for over three decades. Different approaches to ink play are combined to compose his mountain landscapes of the 1990s to early 2000s, featuring his “Tongson colors” and abstraction that combined splash ink with other, uniquely Tongson methods. A prolific artist who used painting as a form of Zen meditation, Tongson’s ink monochrome and multichrome paintings and several calligraphic works point to the manner in which his painting practice served as a form of reprieve from his struggles with mental health. The intersections between his spiritual explorations, his painting and calligraphic practices, and his decades long struggles with mental health and questions of gender identity come through not only in his personal notes, but also in his last series of works, Spiritual Mountains. Completely abandoning the brush to work exclusively with his hands, fingers, and fingernails in the last phase of artistic development, the last series illustrates Tongson’s complete surrender of himself to ink play, leaving unambiguous imprints of his physical body upon the surface of his works.

Opening on July 16, Art Intelligence Global is excited to present GLITCHED, an exhibition featuring five moving image works on loan from the Akeroyd Collection.

The exhibition dives into how artists across multiple decades have deployed glitches, looping, erasure, and distortion to create conceptual ruptures that interrogate ideas of desire, vulnerability, and identity.

Continuing our summer tradition of inviting emerging galleries and curators to bring fresh collecting perspectives to Hong Kong, this season we are thrilled to introduce our first ever moving image exhibition. On the occasion of the show, we will also host a panel discussion with Shane Akeroyd on his journey building one of the largest and most significant moving image collections—stay tuned for details!

Gallery address: Suite A, 1/F TS Tower, Heung Yip Road, Wong Chuk Hang

RUNWAY 51: Barminski Opens a Cardboard Airport to the Unknown at JPS Gallery

Attention passengers: Barminski Airlines is now ready for boarding. All passengers holding boarding passes, please proceed to Runway 51 at JPS Airport!

Acclaimed American artist Barminski returns to JPS Gallery! This time, he transforms the entire space into a full-scale cardboard airport. Inside this intergalactic terminal, visitors will navigate through a security checkpoint, departure lounge, airport select shop, restroom and so much more, exploring a realm of the unpredictable unknown.

Opening Reception: Thursday, July 16, 2026, 5 – 8 pm (Artist will be present)

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

Curated by Takahashi Mizuki, Executive Director and Chief Curator of CHAT—who recently co-curated the Japan Pavilion at the Venice Biennale—this exhibition playfully explores the sources of everyday stress and invite visitors to release negativity through touch, weaving, role-play and laughter.

 Featuring international and local artists, the exhibition includes environmentally conscious interactive structures by Australia’s Slow Art Collective, led by Chaco Kato and Dylan Martorell; a whimsical installation inspired by schoolyard memories by Hong Kong artist Chan Wai Lap; and lively storytelling performances by Indonesian artist Agus Nur Amal PM Toh. Visitors are encouraged to touch, interact, weave, and shout—experiencing the wonder of textile art through creativity and play.

From 18 July to 9 August, a special presentation titled Sensation Release built by Agus will be held at The Hall on the G/F of The Mills. Using household objects and second-hand textiles, Agus has invited various communities in Hong Kong to co-create this interactive space. Visitors of all ages are invited to rescue toy dogs with a pump, take amusing pictures of their animal companions, relive childhood memories by shouting into electric fans, and become imaginary news presenters.

Venue address: CHAT/MILL6 Foundation, The Mills, 45 Pak Tin Par Street, Tsuen Wan, N.T

THE HARTZ PROJECT is thrilled to present an upcoming exhibition at the new gallery space.

The exhibition explores the intricate geometries of self-discovery, questioning what remains of the soul when the external noise fades and the labels we carry dissolve. It is about a journey inward to the centre of being. We do not seek definition; we seek essence. Operating on the philosophical threshold where the social self ends and the true self begins, shedding our given names is not an act of erasure, but a profound awakening—a return to an untamed, eternal truth.

The exhibition weaves a collective dreamscape across various distinct spiritual coordinates of self-exploration. It begins within the ether of memory, where artists crystallize fleeting emotional currents and nostalgic anchors, tracing the invisible threads that tie our current souls to past spaces. Then it moves deeper into the subconscious gateway, utilizing the surreal topography of dreams to dissolve the boundaries of logic and unearth the raw, luminous realities hidden in our sleeping minds. It also grounds itself in the primal pulse of existence, framing the instinctual, boundless sanctuary of maternal love as a cosmic force—a pure, elemental proof of being realized through the act of nurturing.

Yongqi Tang, Liu Xin, Xiangjie Rebecca Wu, Alexis Jang, Kyungmin Jean Lee, Ru Xin, Goyona Jung
Opening Reception: 18 Jul (Saturday) | 3pm - 7pm

Gallery address: 23/F, M PLACE, Wong Chuk Hang

As the concluding chapter of its 25th anniversary programme series, Archive for All: Growing with Communities, Asia Art Archive (AAA) presents Part II of the exhibition At 25: Artists’ Early Worlds. Building on the guiding question, “What were you doing at 25?” this exhibition features artists Salima Hashmi (b. 1942), Holly Lee (1953–2024), Bahc Yiso (1957–2004), and Raqs Media Collective (formed in 1992). The exhibition presents their early life trajectories and art practices through rare archival materials and two newly commissioned artworks.

At 25: Artists’ Early Worlds showcases Asia Art Archive’s distinctive collections, research methodologies, and the evolving network of artists and institutions it has built since 2000, spanning across Asia and beyond. The exhibition brings together rare archival materials, organised and gathered from the artists, their families, and various institutions, alongside early works, to recreate the artists’ intimate worlds at the age of 25. As such, Part II also highlights how artistic practices often extend beyond artmaking into areas such as education, writing, and advocacy. The exhibition shapes a multi-layered vision of art history that includes broader sociocultural contexts, as well as emotional personal recollections, and stories of the departed told by loved ones. The display is complemented by two new commissions born from the interplay between historical reflection and artistic inquiry: While Salima Hashmi reflects on the fragility of memory, Raqs Media Collective revisits an unrealised project. 

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

Join us for the opening of ‘Deep in the Heart of Love’, the culmination of Felix SC Wong’s residency at Square Street Gallery. During the process of painting over empty cardboard boxes and cans, Felix found resonance within their emptiness. They echo his feelings of hollowness since his mother’s departure, which he is still reluctant to face. Both hinge upon absence, a gaping hole indicating the lack of what once was there. The ensuing series of photographs shot in his old home shows Felix embarking on the process of processing his mother’s passing and reflecting on this hollowness.

Opening reception: 30 July, 6-8pm

Gallery address: G/F, 21 Square Street, Sheung Wan

Before smartphones put the world at our fingertips, picture books were our windows to distant cities and cultures.

This time, Wyndham Social partners with the Consulate General of Czechia in Hong Kong, EUNIC Hong Kong cluster partners and ditto ditto to present "This is M. Šašek", a homage to the pioneer of world travel picture books! Supported by the Miroslav Šašek Foundation, this exhibition showcases rare manuscript reproductions, tracing the iconic This is...series and Šašek's extraordinary life journey.

Presented by Wyndham Social in collaboration with the Consulate General of Czechia in Hong Kong, Alliance Française de Hong Kong, Goethe-Institut Hong Kong, Consulate General of Ireland in Hong Kong, Italian Cultural Institute in Hong Kong, and ditto ditto

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

The Hong Kong Palace Museum (HKPM or the Museum) is pleased to unveil its latest thematic exhibition, “The Hong Kong Jockey Club Series: A Day in the City ─ An Experimental Study of Things Across Time”, on view in Gallery 7 from 31 July 2026. The exhibition is organised by the HKPM and solely sponsored by The Hong Kong Jockey Club Charities Trust as part of “The Hong Kong Jockey Club Series”.

Curated by guest curator of the HKPM, Grace Cheng, “A Day in the City” brings together nine established and emerging Hong Kong artists across diverse disciplines, featuring paintings, sculpture, ceramics, and multimedia art. The exhibition creates a remarkable space for dialogue between the majestic grandeur of the Forbidden City and the vibrancy of contemporary Hong Kong. Bridging Chinese heritage and contemporary art, the exhibition invites visitors on a journey across time to discover how historical wisdom and traditions continue to resonate in modern life. Through experimental artistic expression, it reimagines cultural heritage for the contemporary city with renewed vitality.

MAYAO is thrilled to present 𝘚𝘐𝘓𝘌𝘕𝘊𝘌, the premier solo exhibition of Guan Weiwei in the international art scene. Join us for the opening reception on 1 August at 4:30 PM. In silence, we arrive at possibilities yet enclosed.

Guan Weiwei's art practice operates as an underlying strategy through historical distance, visual restraint to better open borderless extensions, connections and interactions. Beneath this seemingly detached visual language through simplified figures, abstract diagrams and grids, lies a subtle and complex technique to create a contemplative space in which viewers encounter the silences embedded in official histories.

This quiet approach invites viewers to question how history is constructed and whose voices remain unheard. Silence therefore becomes a method of revealing sincere perception, appreciation, memory, participation, displacement and regeneration.

Opening reception: 1 August, 4:30-6:30

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

A spatial practitioner and visual artist based in Hong Kong. Trained in architecture at KU Leuven and the University of Hong Kong, Lam is also a former resident at the Cité Internationale des Arts in Paris, France. His work focuses on the intricate relationships between nature, humans, and the built environment. He cofounded Project Tombolo, an architecture design and build project which uses built spaces as a social tool to bridge outlying island communities in Hong Kong with the city.

A core focus of Lam’s practice lies in the notion of the keloid - an overreacted scar tissue as a result of the body trying to repair its wounds. The keloid is an analogy of the modern day environment we live in - neither manmade or natural, and in perpetual conflict. The work of Lam thus aims to uncover the remnants of such conflicts as a generator of latent local culture.

Gallery address: 119 Second Street, Sai Ying Pun

10 Chancery Lane Gallery is pleased to present HEATWAVE, a curated group exhibition celebrating the restorative energy of summer while reflecting on the pressing realities of our changing climate. Bringing together an exceptional lineup, the exhibition captures summer in full bloom—a vibrant season of fun, rejuvenation, and intense vitality. Through lush textures and radiant hues, Heatwave invites viewers to look beyond their digital screens and reconnect with the natural world, serving as a powerful reminder of humanity's symbiotic relationship with Mother Nature.

The exhibition showcases a dynamic selection of works across multiple media, including photography, sculptures, paintings, silkscreen prints, and textile compositions. Visitors will experience a striking dialogue between the brightness of the season and the realities of climate extremities. Gu Benchi’s intricate geometric grids in polyester yarn use tonal gradations that are reminiscent of pulsating energy of the season. The interplay between Gu Benchi’s textile works and John Young’s paintings captures the spectral elegance of heat, simultaneously captivating the audience while issuing a subtle warning of cataclysmic environmental consequences.

Opening Reception: 6-8pm

Gallery address: 10 Chancery Lane, Central

When reflecting on the golden era of Cantopop, the oeuvre of over two thousand lyric compositions penned by Mr. Cheng Kok-kong stands as an indispensable treasure.

From the poignant longing in Wind Blows On, the reflective wistfulness of Years Flow Like Water, to the sincere tenderness of Need You Every Minute and the philosophical detachment of Capriccio — his lyrics have acted like gentle spring rain, nourishing our inner lives across generations and comforting countlessly many hearts, then as now.

Titled "Lucky Am I", this exhibition showcases a curated selection of Mr. Cheng’s calligraphy and ink paintings created over the years. It marks his first public solo exhibition in a decade, following his “A Stroll in the Art Garden” exhibition at Times Square, Causeway Bay in 2016.

Gallery address: Shop 103 and 202, Block 3 Barrack Block, Tai Kwun, Central

Recognized for his night landscapes, Fong renders winding paths and rural scenes under moonlight, creating a mysterious atmosphere. His technique pairs delicate brushwork capturing light and shadow shifts with fluid strokes inspired by Chinese ink painting. This surface treatment creates movement across the canvas, guiding the viewer’s eye like wind or rain. Rooted in Romantic landscape traditions yet contemporary, the works fuse observation with lyrical expression.

Set in Hong Kong’s suburban areas including Sha Tau Kok and Yuen Long, the paintings depict moonlight through mist and on damp stones, with straight roads as visual pathways. The exhibition "White Night" finds beauty in everyday nocturnal settings, softening the harsher aspects of modern development through light and atmosphere.

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

A series of ‘bed photos’ leaked upon hitting the Big Five-Oh triggers a reassessment of existence, time, fear, and the meaning of life. The bed accompanies us through a third of our lives. When further aggregated by those moments of propping up one’s pillow to reflect, it elevates into a matter of ‘life and death’. What can one do to pass the time in bed? Could it be that, amidst the passing seasons, countless philosophical theories, chicken soup for the soul and scientific principles, are nurtured here, weaving into a matrix that leads to the meaning of life? Within our perception of linear time, this matrix attempts to move us fluidly within the complex of past, present, and future.

Having just crossed the Big Five-Oh, the artist Jessica Shiu looks back and realises that in her past decades rather than being an accumulation of ‘life experience’, resemble a rhythmic ‘survival cycle’. Whenever ‘that news’ breaks, a profound chord is struck within her. It drives her to live her days with utmost efficiency and value during that fleeting window — until the spark of that catalyst gradually fades, and life lapses back into the mundane. The cycle repeats ad infinitum.
Yet, when these cycles swell into a surging tidal wave, what follows is no earth-shattering epiphany. On an ordinary morning, the moment she woke up and opened her eyes in bed, she reconnected with a long-forgotten origin of life, the bedrock that exists before entering any matrix.
Through photography and mixed-media works, she transforms mundane objects into mediums for dialogue. She invites viewers to experience this primal origin, as well as some reasons for losing sight of it.

Venue: 10/F, Hong Kong Arts Centre, 2 Harbour Road, Wan Chai

Daily life is always repetitive, and reality is monotonous; this mechanical cycle may even erode dreams. Work, eating, sleeping—days that are all cut from the same cloth—are inevitably relived in the dead of night, leaving one’s thoughts in disarray. If a diary and a dream journal were much alike, are we destined to relive this gloom time and again? How would this be if every day were a day that could be reshaped?

Ivy HO Man Kei is interested in the recollection and documentation of the subconscious as experienced through mundane activities, connecting the dreaming illusion and reality. Usually with painting and space as a medium, featuring stars, living creatures and human-made objects, for instance bicycles, her work transforms a fragmented visual lexicon into dream-like spaces for audiences to dwell in.

Opening: 15 August 3-6 p.m.

Gallery address: 13A Prince's Terrace, Central

Contemporary by Angela Li is delighted to present “Lightness of Being”. Curated by Leung Shiu Kee, Eric, this group exhibition brings together eight recent Fine Arts graduates from Hong Kong institutions, each offering a distinct perspective on human existence.

The participating artists include Chau Sze Ling Aki, Chiu Kar Man Karman, Chung Cheuk Wing Kathryn, Heung Lok Ping Angela, Lau Ting Fung Nick, Leung Lok Yi Janice, On Tsz Tung and Tse Yuen Shan Angela. Through these seemingly lightweight artworks, they offer profound reflections on life.

Opening reception: Thursday, 13 August, 5-8pm (curator and artists will be present)

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

This documentary portraiture project creates a radical intersection between ancient Chinese shamanic traditions and Hong Kong's emerging Voidpunk counterculture. At its heart lies a powerful new mythology where monsters and outcasts find belonging in each other. By reimagining the Nine Deities from Qu Yuan's 3rd-century BCE poem, Jiu Ge (The Nine Songs), as cyberpunk monsters who spurn humanity but embrace the Voidpunks, the work explores how we can transmute the parts of our identities that society deems alien into sources of divine power and unconventional intimacy. 

When I arrived in the Hong Kong megalopolis in 2023, a profound sense of isolation and displacement took hold. As a Canadian-born, South Asian photographer, the city's dense infrastructure mirrored my internal loneliness. I lived as a quiet observer on the margins until the summer of 2024, when I crossed paths with Voidpunk—a radical counterculture of LGBTQ+ individuals, neurodivergent minds, and creative outcasts who reclaim the stigma of being "othered" by forging non-human identities known as Voidsonas. It was here that I met Holok Chen, the Oracle of this community, and the trajectory of my practice shifted forever. In collaboration with Holok Chen & the Voidpunks 

Opening reception: 15/8 (Sat) 7:30-9pm (Artist Tour)

Venue address: Tomorrow Maybe, 4/F Eaton, 380 Nathan Road, Jordan

The Forty Part Motet (A reworking of ‘Spem in Alium’, by Thomas Tallis 1556)(2001) is a deeply moving sound installation by artist Janet Cardiff (Canadian, born 1957). This pioneering work immerses visitors in a performance of ‘Spem in Alium’ (Hope in Any Other), a sixteenth-century sacred motet, or polyphonic choral composition, by composer Thomas Tallis (English, 1505–1585). To make the work, Cardiff recorded forty members of the Salisbury Cathedral Choir singing the piece individually. She then placed forty speakers in a large oval, with each speaker playing a different part. The installation offers a transcendent spatial experience of music as the sound shifts from one speaker to the next before converging as a full choir.

Venue address: The Studio, B2, M+

New Art Est-Ouest Auctions proudly presents a landmark private selling exhibition, The Myriad Visions of Ink: Contemporary Transformations of Eastern Aesthetics, featuring three leading forces in contemporary Chinese ink art - Sun Hao, Tan Jun, and Du Xiaotong - in their joint Hong Kong debut.

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

How does one afford to remember something that no longer exists?

Bringing together three artists/collectives and two curators from South Korea and Hong Kong, this exhibition examines urban development, memory, and post-capitalism across both cities. Their research uncovers a hidden stratum beneath current urban development — where memory functions as a currency that accelerates the surface above it.

Artists: Ubac Studio (KR), Jang Gayoun (KR), Foreseen Agency (HK)

Curators: Kang Min-hyung (KR), Wong Ka Ying KY (HK)

Opening reception: 20 Aug 2026, 17:00–20:00 (5 pm Artist’s talk; 6:30 Curator's tour)

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

Soluna Fine Art is proud to present Letter to Myself , a duo exhibition by Korean artist Lee Ja-Young and Hong Kong artist Rosalyn Ng. Bringing together two female abstract artists, the exhibition invites viewers to glimpse the intimate workings of the artists‘ inner worlds while exploring how each translates emotions and thoughts into visual form. Approaching the canvas as a space for intimacy and self-directed dialogue, like writing a letter to themselves, both artists use their works to pause and reflect on life.

Opening reception on 20 August (Thurs) at 6 - 8 pm. The artists will also be present.

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

M+M Gallery is pleased to announce the upcoming exhibition Lone Sail: Lang Jingshan Solo Exhibition, dedicated to the pioneer of modern Asian photography. This exhibition presents a selection of rare works sourced directly from an important private collection in Taiwan. Lang Jingshan (1892–1995) holds a pivotal and irreplaceable status in the history of Asian and global modern art. As a founding figure of 20th-century Asian photographic aesthetics, he dismantled the mechanical limitations of traditional Western photography as a purely objective documentary tool, pioneering the deeply influential technique of "Composite Photography."

From an academic perspective, Lang Jingshan’s Composite Photography transcends mere darkroom virtuosity, serving as a profound cross-cultural aesthetic experiment. He seamlessly translated the spirit of Xie He's "Six Principles of Painting"—particularly qiyun shengdong (spirit resonance) and jingying weizhi (composition and placement)—into a visual vocabulary of modern photo-chemistry. Through darkroom techniques such as multiple exposures, masking, layering, and collage assembly, Lang successfully subverted the rigid single-point perspective of Western photography, introducing the multi-point (scattered) perspective and bird's-eye view characteristic of traditional Chinese landscape painting.

Opening reception: 4pm

Gallery address: 1902, Winsome House, 73 Wyndham St, Central

Art of Nature Contemporary presents “Boundaries”, a solo exhibition by Gu Yue, on view from August 21 to September 19, 2026.

For Gu Yue, boundaries are not rigid divisions, but dynamic spaces that generate new relationships. Spanning geographical territories, cultural traditions, artistic media, and personal experience, his work uses recombination, transformation, and juxtaposition to bridge symbols from disparate histories, cultures, and media.

“Boundaries” serves as a focused reflection on the intersections of civilization, imagery, and human cognition, inviting viewers to rethink boundaries as generative spaces for building understanding across differences.

Opening reception: 21 Aug, 2026, 5:00 - 8:00 PM

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

The title We Paint What You Might See reflects a shared impulse among Ben Ashton, Jochen Mühlenbrink and Ivan Pokidyshev: to treat painting not as a transparent record of the visible world, but as a deliberate reshaping of its surface. Each artist works from a position of technical mastery, yet none allows that mastery to settle into simple representation. Instead, they place both the physical act of seeing and the psychological process of perception under quiet pressure, opening a space where what appears is never exactly what is there. 

At the heart of their practices lies a philosophical tension between the physical and the perceived. The eye registers colour, form, texture and light. The mind, however, constantly interprets, completes and sometimes resists what it receives. These three artists play deliberately in that gap. They remind us that seeing is never purely optical. It is also psychological, shaped by expectation, memory, trust and doubt.

Opening reception: 22 August 5-7pm

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

Serakai Studio has commissioned Memory & Punishment, a sound installation and durational performance by the artist and musician Janice Laujan, lead vocalist of the post-punk band DAVID BORING.

Bearing semblance to a garden, Memory & Punishment is a self-contained world of sound, mind, and body, seemingly caught in the process of metamorphosis between what is natural and alien. To enter, visitors take off their shoes and step onto a plush undulating purple floor and a world of muffled sounds, dimmed lights and a faint haze. Absorbed into a network of resonances where everything touched can also be heard, visitors contribute with each movement to an acoustic ecology in which sound is never fixed. The space becomes a sonic source in its own right, inviting visitors to linger, listen, and eventually be engulfed, as the distinction between visitor and environment dissolves.

At its core, Memory & Punishment emerges from a simple observation: there are remarkably few spaces in contemporary life that offer a place where challenging recollections may simply be inhabited rather than summarily resolved. Shame, grief, and other such unpleasant emotions are usually relegated to the private realm and remain largely invisible. Conceived as a social environment beyond home and work, the garden suspends the ordinary relations that structure daily life, offering a place where unresolved memories can be embraced.

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

SC Gallery is excited presents the solo exhibition of Joshua Hon Shing Ho, titled “The Rendering of Night and Flower”. The artist’s latest art collection expands his dark-academia artistic style into exploring vulnerable storytelling and nostalgic memories through delineating Wildflowers. Hon began the series amidst navigating a prolonged illness and recovery in Canada. Enduring the uncertain times, the artist channeled this struggle onto canvas, where his exploration of ethereality intersected with memory and distance.

Opening reception: 22 August, 4-7 pm

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

As part of our 45th-anniversary programme, Then and Now, Alisan Fine Arts is pleased to present an exhibition at our Central gallery celebrating four contemporary literati masters from mainland China—Chen Jialing, Jiang Baolin, Lu Fusheng, and Peng Xiancheng—whose pioneering practices have played a pivotal role in the evolution of contemporary ink painting since the 1980s. Forming the "Then" chapter of a cross-generational dialogue, the exhibition examines the continuing transformation of Chinese ink art while honouring the rich traditions from which it emerged.

Opening Reception: Tuesday 25 August, 5:30-7:30pm

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

A selection of masterpieces from the Okada Museum of Art will come to auction at Sotheby's Hong Kong this September, filling the Maison with remarkable works of Asian art spanning 3,000 years.

With more than 180 objects, the sale traces a dialogue between the cultural traditions of China and Japan. This collection brings together treasures ranging from rare imperial porcelains of the Ming and Qing courts to the poetic masterpieces of Kyoto's most celebrated artists.

Each work reflects a profound reverence for the natural world, a sensibility that has transcended time and shaped the artistic traditions of both cultures. Highlights include a Tang dynasty amber-glazed figure of a dog, a rare Haniwa figure of a woman from Japan's late Kofun period, and Sakuma Soen's six-panel landscape from the Edo period.

Ora-Ora is delighted to announce a major new multi-disciplinary group show for August, and its first collaboration with independent Hong Kong-based curator Zoie Yung.

“The Pleasure-Dome of Hills: A Curated Hallucination of a Modern Literati” pays tribute to Ora-Ora’s location in Tai Kwun and Hollywood Road, including the fine rosewood furniture trade with which the street is synonymous. The line-up of 13 artists, many of whom are from Hong Kong, is as follows: Chan Cho Kiu Bunchi, Emily Cheng, Dave Chow Yui Wang, Huang Dan, Ashlee Ip, Vann Kwok, Lam Duen Shan Ming, Lau Hiu Tung, Mindy Lui, Gerald Mak, Tse Chun Sing, Wengio Wong, and Zhang Zhihui.

Curated around the fictional layout of a scholar’s studio, the presentation juxtaposes Ming Dynasty huanghuali, Qing Dynasty zitan and Republican Period Rosewood furniture with contemporary art, crafts, and wearable art. Ora-Ora becomes a space of “polytemporality” where historical monuments and contemporary interventions seamlessly intersect. It also becomes a space where not only the beauty but the function of heterogenous art is celebrated.

Opening reception: August 27, 5:00 pm - 8:00 pm

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

3812 Gallery Hong Kong is delighted to present “Tranquil State: Eric Lai Wai Lam Solo Exhibition”. Three years in the making, this exhibition presents works across series, media, and scales — offering a quiet space to pause, slow down and breathe.

The title “Tranquil State” evokes the quietude and inner order essential to Gongbi painting, while also playing on its Chinese homophone, “secret language”, suggesting an intimate, gentle, and inclusive dialogue. Two major works, 11:11 and 22:22, drawn inspiration from two Cantonese songs - Joey Yung’s Yellow Door (黃色大門) and Denise Ho’s Red Roof (紅屋頂), both penned by Wyman Wong. The lyrics describe the protagonist building an inner castle through whimsical fantasies while grappling with loneliness and misunderstangding – a sentiment that struck a deep chord with Lai. In response, Lai interweaves the lyrical - fawns, rockets, descending angels - with fragments of memories from his own memories. Though deeply personal and emotionally charged, these traces are deliberately encoded, never fully revealing themselves at a glance. The result is a visual cipher, transforming the canvases into "songs that can be seen."

Opening Reception: 27 August at 6 – 8pm. 

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

Stone and egg are two entirely different substances; the tension between their characteristics and meanings reflects the complexity of our existence.

Polly’s exploration of the ordinariness of everyday existence is, above all, the guiding principle of her practice. She emphasises the idea of adjacency or contact with an object to establish concrete and conceptual connections between the materials within her series. From painting to mould-making, from casting in jelly to casting in bronze, and on to printmaking—just as we, too, adapt and shape ourselves to suit our surroundings.

The curator’s theme highlights the malleability of the materials used in Polly’s painting and multimedia practice. Polly weaves together different media to form three main series, conceived not merely as three separate bodies of work but as a unified whole—much like how adjacent spaces in an urban landscape influence one another. Curatorial Adviser: Ivy Ma.

Opening: 4 September, 6-7 pm.

Gallery address: 119 Second Street, Sai Ying Pun

WKM Gallery is delighted to present My tender passion, tender patience, the first solo exhibition in Hong Kong by Japanese artist Soh Souen. This exhibition offers a wide-ranging overview of the artist’s ongoing inquiries into, and practices concerned with, “life”. The exhibition is on view from 5 September to 31 October 2026.

At the center of the exhibition is Again and Again, a series of pastel works that the artist has continued to develop over many years. Created during moments of respite and moments of anguish, the works involves an attunement to the sense of touch. The artist’s own skin gently strokes the “skin” of the painting’s surface, and the clothing and adornments depicted are those that remain in intimate contact with the skin, the body. As the painting becomes skin, it tends to the artist in return, shifting the conventional one-directional relationship between the one who paints into a reciprocal exchange.

Opening Reception: 5 September | 4 - 8 pm

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

Rossi & Rossi is pleased to present A Strange Song Among the Snow, a group exhibition featuring thirteen young Tibetan artists who are shaping the next generation of artistic production in their homeland through their diverse practices. Bringing together paintings, textiles and experimental mixed-media works, the presentation considers family, identity and ecology through the intimate textures of memory and change.

The previous generation of contemporary Tibetan artists, such as Nortse (b. 1963) and Gade (b. 1971), gained recognition through work that responded directly to the rapid social and environmental transformations reshaping life in Lhasa and across Tibet. Many of these artists drew on their immediate surroundings, referencing and reinterpreting classical motifs and styles against the realities of a culture facing modernisation and globalisation. A Strange Song Among the Snow extends this history, presenting contemporary Tibetan art as a continuous discussion across generations. Whilst these artists have grown up in a shifting Tibet, their work continues to explore enduring concerns through the fabric of everyday life. Much of their work is experimental and not overtly framed in classical Tibetan iconography, yet it remains rooted in Tibetan material and visual culture, expressed through natural and intimate materials that are meaningful to today’s emerging artists.  

Gallery address: 11F, M Place, Wong Chuk Hang

Gallery EXIT presents CHO Wing Ki’s solo exhibition ‘Dazzled in the Loop’. The show extends her sustained engagement with urban landscapes and the many faces of everyday life. Here, she re-envisions selected earlier works, shifting from outward, recognizable city scenes toward a more intimate psychological terrain. Attentive to how people move, pause, and linger as they navigate the city, she captures fleeting moments suspended between motion and stillness, haze and clarity.

People often follow instinct and a quiet sense of intention toward places of light, finding rhythm in familiar routes and repeated routines. As the city’s glittering cycles continue to whirl, senses and memories are reawakened. Rather than lingering on the city’s facade, Cho transforms the urban environment through repeated observation and reconstruction into a felt psychological rhythm that reveals resilience beneath daily tensions and the faint light that continues to guide one forward.

Opening: Saturday, 5 September, 2 - 5 pm

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

Whitestone Gallery is pleased to announce Traces, a duo exhibition bringing together the work of Yukihisa Isobe (b. 1935, Tokyo) and the late Tetsuo Mizù (1944–2025, Tokyo). This marks the first occasion on which these two bodies of work have been placed in direct conversation, and it carries particular resonance following Mizù's passing in January 2025.

Drawing on six decades of combined artistic production, the exhibition stages a dialogue between two practices united by a shared impulse: the desire to mark what is at risk of disappearing. Isobe, a pivotal figure in Japan's postwar avant-garde, first gained recognition for his Wappen series (1961-65): repeated heraldic symbols rendered in stone dust and embossed fresco textures. He subsequently spent two decades as a practising ecological planner before returning to art through monumental land-art installations that render invisible environmental histories visible. Mizù, celebrated across Europe and Asia for his luminous paintings derived from international maritime signal flags, encoded personal memory and longing within geometric abstraction. Though their methods diverge—one forensic, the other lyric—both artists devoted their careers to the act of tracing: inscribing presence where absence threatens.

Opening Reception: 2026.09.05 (Sat) 3 - 6 pm

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

Twelve years after Alisan Fine Arts debuted the landmark exhibition Beyond the Jade Terrace (2014), which heralded a new vanguard in contemporary ink with female artists Chu Chu, Wang Mengsha, and Zhang Yirong — we now reconvene at Alisan Atelier with Revisiting the Jade Terrace, where we are honoured to present the established pillars of the same artists who now stand as major figures in contemporary ink art. Over the past decade, each artist has reached significant milestones in their careers.

Presented as part of the gallery's year-long 45th-anniversary programme, Then and Now, the exhibition forms the "Now" component of a dialogue between generations, highlighting the vitality of contemporary ink practice while reflecting on the traditions from which it emerged.

Opening Reception: 5 September, Saturday, 3–6:00 PM

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

Tesfaye Urgessa presents ‘The Lingering Departure’, his first exhibition with the gallery since joining in August 2026. Bringing together paintings and works on paper created over the past year in Addis Ababa, and Stuttgart, Germany, the exhibition reflects on themes of migration, familial relationships and community, as reflections on an increasingly unsettled socio-political world.

Urgessa’s densely peopled tableaux take the human figure as their point of departure. Bodies appear pressed against one another, even enmeshed with their domestic surroundings, and resist settling into any single or coherent narrative. The figures remain in what the artist describes as ‘a state of metamorphosis’, at once altered and deconstructed. As the artist notes: ‘It’s not about what I want. It’s not about what the painting wants. It’s somewhere in the middle. We constantly negotiate.’

Gallery address: 50 Connaught Road, Central

Chiu Wei-Hsiang’s painting is cultivation that begins with loss. Born in 1997 in Dayuan, Taoyuan, Taiwan, he grew up among soil, rice waves, courtyard animals, and the bustle of the market, a world erased by the government’s Aerotropolis project. His grandfather was neighborhood chief, his family large and rooted. Demolition scattered kin and severed bonds. Painting became his act of regrounding: not nostalgia, but a defiant counter to erasure. Toil and Soil, presented by gdm Hong Kong, situates this cultivation in the fissures between demolition and memory, caregiving and creation, disappearance and survival. 

From rural childhood to assisting the family’s wet market stall, and now full-time labor in a nursing institution, farming as repetition and endurance anchors his practice. Daylight is toil, nightfall is soil. In the care facility, Chiu confronts aging and death daily. His labor is consumed by systemic demand yet rendered invisible by its logic. He refuses to reduce elders to cases, painting their vitality and returning dignity denied by institutional structures. His images grow from this double ground: invisible labor and the soil of resistance.

Opening reception: 10 September, 17:00 – 19:00

Artist guided tour: 12 September, 14:30

Gallery address: 1/F, Ruttonjee Centre, 11 Duddell Street, Central

Gagosian is pleased to announce Isn’t Love the Strangest Thing, an exhibition of new and recent paintings by Stanley Whitney opening at the gallery in Hong Kong on September 10. This is Whitney’s first solo exhibition in Asia.

Isn’t Love the Strangest Thing, which features paintings at a variety of scales, from twelve to seventy-two inches square, is named for a jazz standard recorded by Duke Ellington and His Orchestra in 1936, with vocals by Ivie Anderson. This playful song about the unpredictability of romance explores the ways in which falling in love so often entails a disorienting mixture of joy and sorrow. Whitney’s characteristically vibrant abstractions with their heightened awareness of color offer a visual counterpart to the sense of intoxication the song describes. The allusion to jazz—Whitney often references musicians associated with the genre, from Charlie Parker and Ornette Coleman, when discussing visual practice—is a constant in the exhibition, as is the idea that one color may “call” to another, producing new rhythms.

Opening reception: Thursday, September 10, 6–8pm

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

IN FOCUS at Flowers Gallery's Hong Kong space this autumn is a selection of London-based Patrick Hughes's pioneering reverspectives: three-dimensional paintings with the conventional perspectives of depth reversed to create an illusion of movement, challenging us to question what we think we see and experience. First exhibiting with Angela Flowers in London in 1970, Hughes has achieved international recognition for his lifelong exploration of pictorial space and paradox. Closely aligned with British Surrealism in the 1960s, Hughes is also renowned for the impact of his work on investigations within the fields of visual perception and cognition.

The genesis of Hughes's fascination with the concept of inversion can be traced to the artist's childhood during the Second World War. At his family home in the British town of Crewe, the safest place to hide from German bombs was in a cupboard under the stairwell, where Hughes spent hours looking up at the underside of the stairs  - a geometry that would later inform his reverspectives. Iterations of this shape emerged in the structure of Hughes's reliefs, allowing the artist to reverse expected relationships of depth and perspective and place the furthest points of a composition physically closest to the viewer.

Gallery address: 49 Tung Street, Sheung Wan

We are delighted to invite you to visit “We Are the Things Monsters Love” by Alex Huda, which will be open from 1 Aug 2026 to 9 Aug 2026 at WURE AREA. The project will be presented at Tomorrow Maybe at Eaton HK (Jordan, August 15–30), and ACO Art Space (Wanchai, September 12–27) after.

"How do those rejected by society construct their own systems of meaning through myth, ritual, and unconventional intimacy?"
This documentary portraiture project creates a radical intersection between ancient Chinese shamanic traditions and Hong Kong's emerging Voidpunk counterculture. At its heart lies a powerful new mythology where monsters and outcasts find belonging in each other. By reimagining the Nine Deities from Qu Yuan's 3rd-century BCE poem, Jiu Ge (The Nine Songs), as cyberpunk monsters who spurn humanity but embrace the Voidpunks, the work explores how we can transmute the parts of our identities that society deems alien into sources of divine power and unconventional intimacy.

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

wamono art presents Echoes of Time, a duo exhibition by Hong Kong artist Rebeka Tam and Japanese artist Shiori Kaneko. Rebeka’s work draws from historical traces found on Hong Kong’s public walls, while Kaneko’s sculptures emerge from imagined timelines within abandoned buildings. Together, they reveal how ceramics can hold both transformation and stillness, capturing the fantasy of fixing time itself.

In this exhibition, the ever‑shifting flow of time is quietly anchored in the enduring medium of ceramics—a material that retains its form across decades. Each artist brings her own sensibility and originality to the exploration of memory, traces, and the fragile gaze cast upon a world in constant transition, guiding viewers into distinct narrative realms. Echoes of Time invites audiences to immerse themselves in a fantastical space where time seems to be held within the permanence of fired clay.

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

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.

Ben Brown Fine Arts is proud to present Echoes of Day and Night, a solo exhibition of paintings by Qi Lei and the gallery’s first collaboration with the artist, who currently lives and works in Shanghai.

The exhibition centres on Qi Lei’s recent reflections on music, painting and time. The title emerged from the artist seeing the post-rock band Godspeed You! Black Emperor perform live last year. Their music is highly abstract, seldom relying on lyrics or text, and builds its structure and rhythm through instrumental performance alone. That abstract musical language led him to consider how figuration and abstraction stand in relation to one another in painting, and it has become an important point of departure for his own painterly language.

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

Blindspot Gallery is pleased to present “Soft Borders”, opening on 12 September, and on view from 15 September to 7 November 2026, featuring works by Igshaan Adams, Bi Rongrong, Kazuko Miyamoto, Angela Su, Aiko Tezuka, and Yee I-Lann. Bringing together artists across diverse geographies and material approaches, the exhibition examines how borders — social, cultural, historical, and geographical — are stretched, untethered, and reimagined. Themes of community, labor, technology, and globalization come into focus. While the artists engage with the logic of weaving, embroidery, and interlacing, their material vocabularies extend beyond the thread to encompass beads, wire, bamboo, hair, metal, and enamel. Textile and fiber are approached not as singular mediums, but as sites of negotiation — between bodies and systems, hand and machine, softness and power.

Opening Reception: 12 September 2026, Saturday, 3-6pm

Exhibition Guided Tour: 12 September 2026, Saturday, 4pm (conducted in English)

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

Axel Vervoordt Gallery is delighted to present Source, a solo exhibition of artworks by late Singaporean-British artist Kim Lim. Source brings together sculptures, prints and photographs by Kim Lim in an exhibition exploring rhythm, transformation and the vital energies held within matter. Taking its title from Lim’s 1988 sculpture, the exhibition begins with the idea of the source not simply as a fixed point of origin, but as a generative condition: a place from which forms emerge, change and return. It also refers to source material—the observations, things, experiences and documentation that inspired Lim’s artistic journey and process.

Photographs selected from the artist’s archive punctuate the exhibition. Although photography remained a constant element of Lim’s working life, these images have previously been presented primarily as archival or supporting material. Here, they occupy a deliberately ambiguous position. They offer traces of Lim’s travels and working processes, revealing her sustained attention to structures, rhythms and forms found across natural and built environments.

Curated by Bianca Chu

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

Breaking the boundaries between painting and sculpture, Lucio Fontana (1899–1968) transformed the canvas into a dynamic area of light, gesture, and movement. His slashed and punctured surfaces, central to the Spatialism movement he founded, fundamentally redefined the relationship between artwork and space. Through an innovative aesthetic, his visionary practice paved the way for postwar contemporary art and continues to inspire artists around the world. In September 2026, Hauser & Wirth Hong Kong will present seminal works from 1949 onward, focusing on the revolutionary ‘Buchi’ (Holes) and ‘Tagli’ (Cuts), tracing the evolution of Spatialism and Fontana’s radical exploration of the canvas as a site of infinite possibility.

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

PODIUM is proud to present ‘Halfway Across the Rubicon’, Rotterdam-based artist Luis Xertu’s first solo presentation with the gallery and in Asia. In this new body of paintings, Xertu unfolds a tender, sun-drenched world where the fleetingness of love, beauty, and youth lingers like the last light of summer. He traces delicate passages of intimacy within and beyond friendship, attending to a bittersweet ambivalence shaped by quiet tensions, hidden desires, and unspoken affections that surface as both excess and residue through the fissures of the grammar of social life.

Opening reception: 19 September (Sat), 2 to 7 PM

Gallery address: 9/F, E Tat Factory Building, Wong Chuk Hang

David Zwirner is pleased to present a group exhibition organized and conceived by gallerist Matthew Brown. This exhibition, titled Nocturnal, will present works by Uri Aran, Patricia Ayres, Julie Beaufils, Sedrick Chisom, Carroll Dunham, Nat Faulkner, Sasha Gordon, Kenji Ide, Olivia van Kuiken, Heidi Lau, Jack O'Brien, Kent O'Connor, Trevor Shimizu and Michelle Uckotter.

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

German artist Anne Imhof's first solo exhibition in Asia is arriving at Tai Kwun this fall, bringing together a significant survey of key works alongside a new commission, inviting audiences into her distinctive world.

The recipient of the Golden Lion at the 2017 Venice Biennale, Imhof is known for her precise choreography of bodies, attention and atmosphere. The artist constructs environments that feel at once intimate and monumental, unfolding across time and space and prompting viewers to consider how power, vulnerability and presence are staged. This ambitious presentation –  where performance, image, sound and architecture converge to create charged, immersive encounters – offers audiences a rare opportunity to experience one of today’s most influential artistic voices in an expanded, embodied encounter.

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

White Cube Hong Kong presents ‘When the Surface Thinks’, a solo exhibition by Paris-based Chinese artist Yunyao Zhang (b. 1985, Shanghai). With this new body of work, the artist contends that meaning can reside within a surface – proposing painting as a sentient field that registers, reflects and thinks.

The exhibition presents large-scale, illusionistic abstractions from Zhang’s ‘Connector’ series (2022–present), tight close-ups of carved heads from the ‘Time’ series (2021–present), and studies of classical statuary. These works subvert the traditions of Soviet Realism and the French Beaux-Arts that informed Zhang’s early academic training.

Central to the artist’s practice is his use of graphite on felt, a material that is both light-absorbent and resistant to revision. Unlike oil on canvas, which allows for overpainting and correction, graphite becomes embedded into the textured plane. Through a sustained and highly physical process, Zhang builds tonal depth across the textile’s flatness, creating images that appear at once sculptural and weightless.

Gallery address: 50 Connaught Road, Central

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