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

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

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

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

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.

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.

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

University Museum and Art Gallery, The University of Hong Kong

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

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

Venue address: Main Hall Gallery, G, M+

This 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.

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

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 

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.

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+

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

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

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

HKI Gallery presents Hong Kong artist Gretchen So’s black‑and‑white photography exhibition The World Trade Center: Before Memory, transporting viewers back to an era when the Twin Towers were still part of everyday life. The photographs were taken on medium format film in the early 1990s, and some are being presented publicly for the first time. They show how the World Trade Center was embedded in New York’s urban fabric. Seen today, they also reveal how photographs can acquire new meanings over time.

Rather than presenting the World Trade Center primarily as an architectural landmark or monumental presence, So photographed the towers from streets, bridges, waterfronts and other public spaces across the city and beyond. Their familiar outlines recur throughout the series: sometimes commanding attention, sometimes receding quietly into the distance, and rarely becoming the sole subject of the photograph. The towers appear as witnesses to the everyday life of metropolitan New York.

Gallery address: 12D Derrick Industrial Building, 49 Wong Chuk Hang Road

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

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.’

Preview: Tuesday 8 September 2026, 5–8pm
Exhibition tour: 5pm

Gallery address: 50 Connaught Road, Central

Leslie Cheung (1956–2003), fondly remembered by his fans as Gor-gor (literally big brother in Cantonese), is an icon of Hong Kong popular culture. His huge discography, filmography and television work are still enjoyed and well-loved by many. He was a talent of extraordinary range, constantly pushing his own boundaries and dominating the Hong Kong music scene. His musical journey reached far beyond the city, taking him on world tours to Japan, South Korea, Malaysia, the United States, Canada, Australia and the United Kingdom, and driving Hong Kong pop music onto the international stage. In the realm of film, he also appeared in over 50 works, excelling in a diverse array of roles. With his distinctive charisma and effortless, expressive acting style, he created many unforgettable characters, earning accolades at the Hong Kong Film Awards and various international honours. Gor-gor’s works have not only accompanied an entire generation as they grew up, but, with the development of the internet, also continued to spread online, giving rise to the phenomenon of “Post-Leslie’ fans”.

To commemorate the 70th anniversary of Leslie Cheung’s birth, this exhibition features a rich selection of exhibits, including vinyl records, stage costumes, film posters and stills, awards, and popular culture items. Complemented with thoughtfully designed multimedia programmes and photo spots, the exhibition will also recreate the interior settings of Gor-gor’s former residence for the first time. It aims to revisit Leslie Cheung’s outstanding achievements in music and film, trace the cross-regional reach of his artistic career, and celebrate the enduring influence of his film and television work. It offers the public an opportunity to honour and remember this legendary star.

Venue address: 1/F Thematic Gallery 5, 1 Man Lam Road, Sha Tin

Kiang Malingue presents at its Hong Kong location Wayfarer of Fire, a group exhibition bringing together Brook Hsu, Kwan Sheung Chi, Lai Chih-Sheng, Phillip Lai, Ellen Pau, Apichatpong Weerasethakul, and Samson Young. With a focus on the transformative power of cinema, sound and labour, the artists turn to Promethean figures and revolutionary visions, tracing the ways in which individuals and communities act as keepers of the flame, collectors of cinders, and fire-watchers—tending the life-giving potential of fire, reflecting on its mobility, monumentality, and memory, setting amnesia ablaze.

Opening: Thur, 10 September, 6 – 8 PM

Gallery address: 10 Sik On Street, Wanchai

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

Walking up from the steep, crisscrossing streets of Sheung Wan, "46 Sai Street" is not merely the street address of Leo Gallery's Hong Kong space, but an experiential field newly remeasured by artist Xiao Bo through the medium of painting. Following his 2025 solo exhibition Container at Leo Gallery Shanghai, Xiao Bo extends the anchor of his practice to Hong Kong, continuing his profound excavation of the medium's intrinsic essence. This tangible street beneath our feet represents a specific, personal everyday experience, while simultaneously standing as an unyielding reality independent of individual will—functioning much like a "container" that carries universal reality. In this exhibition, Xiao Bo translates the complementary reflection between "individual experience" and "objective reality" into a quiet dialogue between body, time, and material through a highly rational visual vocabulary.

Opening reception: 10 SEP 2026 (THUR) | 6–8 pm

Gallery address: 46 Sai Street, Sheung Wan

HART HAUS is pleased to present Garden Whisperers: Attuning to Ecologies of Coexistence, an award-winning exhibition project from the Curatorship Incubation Programme. Curated by Mankit Lai, the group exhibition features works by Chen Dandizi, Melody Qingmei Li, Florence Yuk-ki Lee, Liao Jiaming, Green Mok, Tang Kwok Hin, Shawn Pakhin Tang, Timur Si-Qin, Tong Wenmin, Benjamin Ryser, Dorothy Wong Ka Chung, Chung Wong, and Woo Hannah. 

Garden Whisperers transforms HART HAUS into a night garden. Neither wholly natural nor entirely human-made, the garden is a site rooted in the entanglement of socio-cultural and ecological forces, growing and evolving through the ongoing interactions between humans, more-than-human beings, and their shared environments. Taking the garden as a metaphor, the exhibition invites visitors to wander through the nocturnal landscape and attune to the subtle relationships that sustain coexistence. 

Often imagined as a highly developed "concrete jungle," Hong Kong emerges instead as a unique metropolis where verdant mountains, coastlines, and rich ecologies meet dense urbanism. Taking this city as its point of departure, the exhibition brings together 13 artists working across Asia whose practices explore often overlooked dimensions of coexistence, extending and reimagining the entangled conditions of city and nature. Together, their works weave a tapestry of life's quiet whispers, inviting audiences to attend to the multiple dialogues embedded within symbiotic existence—adaptation, negotiation, conflict, collaboration, and care—while sensing the ever-moving pulse of life that course between urban and natural worlds. 

Opening reception: 12 September, 3-7 pm

Venue address: G/F and 3/F12P SmithfieldKennedy Town

The structures we inhabit also have a peculiar way of inhabiting us. They inaugurate us as subjects, place us within society, offering specific understandings of morality, ethics, and justice. In other words, they often aid in placing us as social beings, and thus giving way for the expressions that make us most human to emerge. But what is it that happens when these structures are totalising? What does one do in response to the rigid dogmas of the powers at large? 

Borrowing its title from a work by Koller, UFO: Universal Futurological Organisation brings together 9 artists from Central and Eastern Europe and Hong Kong namely Andrei Pokrovskii, Angela Chow, Clarice Blanche Hu, Djordje Ivačković, Jocelyn Chan, Július Koller, Kateřina Ondrušková, Monika Žáková, Vlado Martek. Working across sculpture, drawing, and painting, the artists included in this exhibition pull focus (in resonance with Koller) on the small gestures that widen our imagination of the future. UFO: Universal Futurological Organisation initiates a dialogue shared by artists across geographies and temporalities, as each responds to the social and affective paradigms that surround them. 

Opening: Saturday, 12 September 3-6pm

Gallery address: 68 Lok Ku Road, Sheung Wan

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.

Opening: 12 September, 4–8 pm

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

This autumn, Kwai Fung Hin Hong Kong presents In Search of Lost Time, a group exhibition that invites you step into the comfort of home to relive the smallest, often overlooked details of the everyday. Familiar as it may seem, how much of our everyday life truly registers, and how much slips away, lost to the rush of contemporary life and constant distraction? This exhibition asks us to pause and recover the quiet beauty embedded in the ordinary.

Borrowing its title from Marcel Proust’s novel, the exhibition brings together twelve international artists, centering on their shared practice of attentive observation and sensory engagement, through which they explore how domestic interior and daily routine inform our inner lives, memories, and sense of belonging.

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

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

Opening reception: Thursday 17 September, 5-8pm

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

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

Art Intelligence Global is pleased to announce Significant Form, opening at our Hong Kong gallery on Thursday, 17 September 2026. This group exhibition marks the most significant presentation of Modern and Contemporary South Asian Art staged in the city.

Assembling eleven artists from across the region and its diasporas, Significant Form spans work made in the decades following Independence through to the present day. The exhibition traces the diverse visual languages and subjects - identity, memory, and belonging, among others - South Asian artists have pursued since 1947. Significant Form is produced in collaboration with three of Mumbai’s leading contemporary art galleries: Chemould Prescott Road, Jhaveri Contemporary, and TARQ. The exhibition is co-curated with Adeline Ooi, formerly Director Asia for Art Basel.

Opening Reception: Thursday, 17 September | 5 - 8PM

Gallery address: 1/F TS Tower, 43 Heung Yip Road, Wong Chuk Hang

Contemporary by Angela Li presents a solo exhibition by Kong Chun Nga, Kitty, Bird Watching Snowflakes. Ten years after her last solo exhibition, the artist brings together nearly twenty new paintings. The exhibition will officially open on ., with the artist in attendance.

In one corner of a sphere, a hexagonal snowflake falls from the sky, gently settling on a triangular rooftop. In another, a small slate-coloured bird stands before a window, watching grey snowflakes on a television screen. Living in the city, Kong sometimes imagines herself as a cat: her thoughts can be rebellious, yet she is often defeated by the need for sleep. At other times, she feels like a pigeon, occupied with the business of survival while searching for a place where she can rest at ease. These indescribable feelings gradually find their way into the figures, animals, and landscapes of her paintings.

She reads on the MTR and doodles during meetings, jotting down passing sentences and thoughts on sticky notes. Over time, these fragments accumulate, becoming the material from which this exhibition takes shape as a record of everyday life.

Opening reception: Thursday, 17 September 2026, 5 - 8 p.m

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

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.

4 – 5 pm, Curator Walkthrough & Book Launch

5 – 7 pm, Opening Reception

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

INKstudio Hong Kong is pleased to present Losing My Way to Watch the Flowers Bloom, the latest solo exhibition by Peng Kanglong — one of the leading contemporary ink artists and a rare 集大成者 (jidachengzhe, a “great synthesizer”) of the brush-and-ink tradition — on view from September 19 through November 28, 2026. The exhibition brings together significant works from across Peng’s career, including key works previously presented in his major 2025 solo exhibitions Peng Kanglong: Beguiling the Eye at the Guangdong Museum of Art and (In/Ex)haling the Vast Wilderness at The Historical Grand Courtyard in Taipei. Nearly 40 works highlight the development of Peng’s ink practice across different stages of his career.

Opening: Saturday, September 19, 2026 | 3:00 – 7:00 pm  

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

Three people gather around a flame. One leans forward, the other two are still. The field on which they sit is split neatly in half, revealing tree roots reaching down into the endless earth. A flock of sheep graze and sleep under a midnight sky, unaware – or benevolently accepting – of the strange scene unfolding before them.

Comprising all new paintings by Beijing-based author, filmmaker, and painter Xi Jiu, “A Tiger in the Clover Garden” is inspired by the magical realist stories within “Bestiary,” a short story collection by Argentinian author Julio Cortázar. First published in 1951, the stories are of a haunted Latin America, filled with chimera and creatures borne from a fractured social landscape. Struck by the parallels between Cortázar's fiction and China's own long standing surrealist traditions, Xi Jiu developed a collection of scenes as an homage to both.

By appointment.

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

THE HARTZ PROJECT is pleased to present 歸樸：The 0 Degree of Looking, a solo exhibition by Korean artist Boyoung Jeong, on view from 19 September through 31 October 2026.

The world does not stop spinning, but here, it holds its breath. The exhibition introduces a quietude that realigns the gallery into a living architecture of stillness, filtering out the noise of modern acceleration to reveal the zero degree of looking. Borrowing from Roland Barthes’ concept of neutrality, it proposes a gaze stripped of narrative weight, cultural noise, and emotional projection. In this space, looking ceases to be a passive consumption of images and becomes a pure, unmediated awareness of presence.

Opening Reception & Meet the Artist: 19 Sep (Sat) 3pm - 6pm

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

MAYAO is pleased to present Daydream, a dual exhibition by WANG Zixu and LAN Qing. Join us at the opening on September 19 at 4:30 PM, to evoke the fulcrum of reality amid the debris of simulacra.

In "The Interpretation of Dreams", Freud described the dreams of the night as the royal road to the unconscious. Yet even in daylight, with consciousness fully awake, we fall just as frequently into another kind of dream: the daydream. A daydream is a fissure in the mind's defensive mechanisms, and a brief loss of control within the order of everyday life. In a contemporary society defined by extreme rationality and digital information overload, the semi-virtual reality became a vast daydream factory for contemporary life. As the everyday grows ever more alienated, people become less able to confront physical reality and increasingly dependent on the virtual world constructed by networks.

This show act as a site of collective hypnosis. We invite every viewer to lay down the armour of reality. Here, the daydream is not a meaningless escape, but a starting point from which to reclaim individual perception from reality and reconstruct life. May we see, in daylight, those truths that exist only when our eyes are closed.

Opening reception: 19 September, 4:30-6:30pm

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

A solo exhibition by Paris-based artist Guillaume Dénervaud, “Cell19: Observation Continues" features a new body of works on linen and two interactive sculptures. The exhibition imagines infrastructures and systems that gradually lose their original authority and become porous, welcoming unexpected forms of occupation, coexistence and renewal.

Opening reception: 19 September, 5-7pm

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

I.F. Gallery, Hong Kong is pleased to present Three Paths, One Journey – 37 Years, a group exhibition featuring Chung Tai Fu, Chen Wenguang, and Zhang Huoyan, on view from September 20 to October 18, 2026.The exhibition showcases recent works by the three artists, whose close friendship began in 1985 during their studies at the Tokyo University of the Arts. Reuniting thirty-seven years after their first joint exhibition in Hong Kong in 1989, this showcase brings them together once again. Focusing on small-scale works across various media—including mineral pigments, printmaking, Nihonga, and acrylics—the exhibition highlights their distinct artistic styles and material explorations developed over decades, reflecting their evolving artistic paths and shared spiritual resonance.

To mark this special occasion, we are pleased to present an opening artist talk with participating artists Chung Tai Fu and Zhang Huoyan, moderated by I.F. Gallery Director Sun Tianyu. The conversation will reflect on their shared years in Tokyo, their evolving artistic practices, and the distinct paths that have led them to reunite in Hong Kong. The talk will be followed by an audience Q&A, opening tea reception, and an opportunity to meet the artists.

Opening Artist Talk: 15:00–16:00 Moderated by Sun Tianyu, Director, I.F. Gallery

Opening Reception: 16:00–18:00

Gallery address: G/F, Ivy House, 18-20 Wyndham St, Central

Cheng-Lan Foundation is pleased to announce Housekeeping, the second in a two-part collection show. Opening 23 September through till 28 November at the Foundation’s public exhibition space, Cheng-Lan’s Corner, the exhibition will bring together five female-identifying artists who work across multiple mediums, including installation, photography, and sculpture; Ruth Asawa, Olga de Amaral, Elene Chantladze, Naiza Khan and Xue Ying. 

Following Home, A Fire—which explored how artistic practice is intertwined with domestic environments and the architecture of the home—Housekeeping expands the inquiry by bringing together loaned works alongside pieces from the Foundation’s collection. This broader constellation extends the investigation of art-making as rooted in notions of home and belonging for artists across diverse backgrounds and generations.

 The title of the exhibition is suggestive of the intimate, daily work of maintaining, organising, and anchoring a family within societal rules and a physical structure. Similarly, Housekeeping uplifts works by artists whose practices are indelibly inseparable from family and community life.

Opening reception: 23 September 6:30 pm-8:00 pm

Gallery address: G/F, 3 Prince's Terrace, Mid Levels

Vunkwan Tam's artistic practice ranges across sculpture, video, text, sound, and installation. Often taking the form of marginally adjusted readymades — whether found objects, images, or textual fragments —Tam's work expresses what might be termed a contemporary ethics of exhaustion, foregrounding the residues of circulation, labor, and the minimal human trace in place of the conventional performance of artistic personae.

Opening Wednesday, 23 September, 6-8 pm
Gallery address: 19/F, Grand Marine Center, 3 Yue Fung Street, Tin Wan, Aberdeen

10 Chancery Lane Gallery celebrates the 15th edition of HKFOREWORD - New Art from Hong Kong. This exhibition celebrates emerging Hong Kong talents working across diverse media who have graduated from local and international universities. Initiated at a time when Hong Kong’s art ecosystem was still developing, the exhibition has been serving as a space for experimentation and conception that is integral to the development of the artists' practice. Curated by Yoyo Yu, this year we have selected 13 artists, works including installation, painting, photography, sculpture and video. HKFOREWORD26 offers a fresh perspective on artistic development in Hong Kong, continuing to navigate artistic possibilities and confront our collective technological lobotomy.

We are honoured to present: Kelvin Au, Joy Chan, Emily Cheung, Natalie Chu, Jing, Tansy Kan, Janice Leung, Karl Ng, Tanya Shah, Anya Tong, Wong King Yu (Ah Yu), Kitman Yeung, Zhuo Hui

Opening Reception: 23 September, 6 – 8 pm

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

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.

Opening Reception: Wednesday, September 23, 5–7 PM

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

Visiting an art museum is no longer a special occasion; picking up a pen to draw is not a capability exclusive to artists — we are trying to develop a new service form between contemporary art and social welfare services — “contemporary art services”.

Organized by the SAHK, sponsored by the Arts Development Fund for People with Disabilities, and curated by HASS Lab, the exhibition "Art / Daily" showcases the possibilities of creation between artists and persons with disabilities within contemporary art: first visiting art museums together to exchange feelings about artworks on an equal footing; then returning to the centers together to create using different art mediums.

It is not just an exhibition, but a marathon of socially participatory art that introduces contemporary art creative methods, curatorial thinking, spatial experience and audience participation into the daily life and work context of service users. To date, the program has linked 9 participating centers, with more than 20 art venue visits and more than 90 art creation workshops.

Venue address: 4/F Tomorrow Maybe, G/F Lobby and LG Food Hall

Wyndham Social and ArtNext are pleased to present Soft Noise, a solo exhibition by emerging Hong Kong artist June Ho, running from 25 September to 25 October 2026. Recipient of the WyndhamSocial Emerging Artist Award at ArtNext Fair 2025, June presents a compelling body of printmaking works that explore urban quietude, tactile memory, and the nuanced search for belonging in a fast-paced city.

In a metropolis defined by noise and speed, Soft Noise serves as a contemplative intermission. Taking inspiration from the subtle, overlooked details of daily life—slanted morning sunlight filtering through branches or the damp air of a bus station after rain—June translates transient moments into intricate woodblock and relief prints. Her subdued colour palettes and delicate textures gently soften the sharp edges of urban existence, inviting viewers to tune into a restorative quietude.

Opening reception: 24 September 2026 (Thu), 6:30 – 8:30pm RSVP Required

Venue address: G/F, 33 Wyndham Street, 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.

Opening Week Performances with Hong Kong Ballet and international cast:

25 & 26 Sep 2026

Adapted Performances by Hong Kong Ballet: 

3, 4, 10, 11, 24, 25, 31 Oct 2026

1, 7, 8, 14, 15, 21, 22, 28, 29 Nov 2026

Online / on-site: HK$50 (Regular)

What is it that moves us?

A mother and her memories of stolen guavas, an aunt and the shifting tides of her encyclopaedia business, an uncle, a cousin and their days at sea, and many more who set out and travel, first from the provinces of the Philippines to the metropolis, and eventually to Hong Kong and elsewhere.

In 𝑻𝒉𝒆 𝑫𝒓𝒊𝒇𝒕𝒔, 𝑻𝒉𝒆 𝑳𝒊𝒏𝒈𝒆𝒓𝒊𝒏𝒈𝒔, through images, videos, installations and collected materials, these fragments gather around movement, memory and belonging — and the ways a sense of the world takes shape.

Curator: Aaditya Sathish

Opening: 26.9.2026 | 16:00–19:00
Venue: Unit 12, Cattle Depot Artist Village, To Kwa Wan

VILLEPIN is delighted to present What Remains to Be Seen, a solo exhibition by Myonghi Kang, opening this September in Hong Kong. Marking the artist’s first solo exhibition at a gallery in over two years, following The Rebirth of Nature: Chapters 1 & 2 (2024), the exhibition brings together a significant group of recent paintings and works on paper.

Presented following major institutional exhibitions at the Seoul Museum of Art in 2025 and Château La Coste in 2024, What Remains to Be Seen reflects more than six decades of sustained observation and experimentation. Rather than looking back on a completed career, the exhibition presents an artist who continues to return to what she has not yet fully understood. For Myonghi Kang, painting is not a means of describing the world, but a way of learning how to see it. For decades, she has returned to the same landscapes, flowers and motifs, sometimes leaving a painting untouched for months or even years before returning to it. Looking, for Kang, is not what happens before painting begins. It is part of the work itself.

Gallery address: 53-55 Hollywood Road, Central

Northlandia in the Making presents Northlandia, a fictional country developed by Michelle Fung as part of her long-term project 2084. The exhibition focuses on how Northlandia is continually in the making.

Observing, Imagining, Making and Continuing mark four interconnected modes of the artist’s practice, bringing together 30 Arctic photographs, 30 Arctic sky paintings, a newly envisioned world map, a ready-made installation made from glacier ice and the ongoing production of the double-channel, hand-painted and hand-carved Northlandia animation (to be completed at the end of 2026) and its original woodblocks.

Drawing on her experiences during Arctic residencies in 2022 and 2026, Fung translates observations of landscape, light, climate and time into an imagined world with its own geography, forms of life and social structures.

Another question at the center of the exhibition is what a fictional country might allow us to see about the world we inhabit. Through Northlandia, Fung approaches reality through fiction, offering a complicated perspective on life in an age of climate change and our changing relationship with the environment around us.

Exhibition opening 5-7pm 29 September 2026 (Tue)

Venue address: HKUST Library, Clearwater Bay

The Hong Kong Palace Museum and the Palace Museum are pleased to jointly present the latest thematic exhibition, “Design for the Forbidden City: Imperial Workshops of the Qing Court” (“Design for the Forbidden City”), on view in Gallery 5 of the HKPM from 30 September 2026.

Featuring 157 treasures from the Palace Museum collection, including 14 grade-one national treasures, the exhibition celebrates the artistic ingenuity and supreme craftsmanship of the Qing dynasty (1644–1911). Through the lens of contemporary design, the exhibition offers rare and insightful perspectives on the operation and aesthetic codes of the Qing Imperial Workshops. Seamlessly bridging past and present, the exhibition embodies the Museum’s core vision of bringing history and cultural heritage vividly to life. By inviting Hong Kong designers and other creative talents to participate in the exhibition design, the exhibition presents court aesthetics from a fresh perspective and opens up a dialogue between Qing and contemporary life and design.

“Design for the Forbidden City” marks the first major exhibition to explore the history, organisational structure, use of materials, and production processes—as well as the artistic ingenuity and achievements—of the Imperial Workshops. The Imperial Workshops were entrusted with the vital task of supplying and maintaining the many objects used by and displayed for the emperors during the Qing dynasty. Within dozens of specialised workshops, skilled craftsmen from across China used the finest materials to produce everything from daily items to breathtaking masterpieces. The wide array of objects they created exemplifies the height of Qing court aesthetics and craftsmanship and forms a significant part of the Palace Museum’s vast collection today.

White Reclusion is the ancient name for autumn. Compared to the growth and abundance of spring and summer, autumn is closer to an inward-turning process: things are still happening, but the pace slows, energy gradually restrains itself, and life preserves the traces of its next phase in stillness. The exhibition uses this concept as a starting point, focusing on how artists depart from the external world and gradually return to themselves through their creation.

Participating artists: Bolin, Ding Li, Gu Qiang, Li Hongcheng, Lin Mingjun, Mu Zi Fan, Song Wanjin, Shizhu

Opening Reception: 2 Oct, 5–8:00 PM

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

M+M Gallery is pleased to present May You Be Full of Desire and Fear, the first solo exhibition by 27-year-old artist Lihong BAI, who received her MA from the Royal College of Art two years ago. Bringing together works in a range of forms and media, the exhibition traces the artist’s artistic formation while following her ongoing interrogations of the world around her.

Why do we assume that the human must remain at the center? What happens when we move beyond a human-centered view and question our impulse to dominate the world around us? If we place a person within a mountain, a sea, or a city, are they still the center—or simply one presence among many? And if the human is no longer the dominant point of reference, how might we understand our own existence?

This is the question Lihong Bai carries with her from landscape painting. She began studying Chinese painting at six, but its influence on her goes beyond technique and imagery. What draws her to shanshui is its enduring question: how does the human exist within the world? In traditional landscapes, figures appear as tiny traces within vast mountains, rivers, clouds, and trees—a small presence within the larger flow of the natural world.

Opening reception: 4-6pm Artist talk: 5:00-5:30pm

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

Drawing on the Taoist ritual of “deconsecration”, OMG, titled 《退神殿》 in Chinese, uses dark humour to draw back the curtain on the lives we have been taught to perform — releasing us from inherited expectations of “who we are supposed to become” and opening a space for the self to be seen, questioned and redefined.

At a certain point in life, we begin to realise that many of our so-called “choices” may have been written for us long before we ever made them: what we should study, what work we should pursue, when we should marry, what counts as success, and what kind of person we are expected to become. Along the way, we try so hard to live well, to do things properly, to become the person we were told we should be. Yet we may never have had the time, or the courage, to ask ourselves: Is this truly the life I want?

Opening reception: Thursday, October 8, 5–8 pm

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

Throughout history, the cave has served as both a quiet sanctuary and a power plant for the mind. These chambers have long acted as spaces of psychological rebellion: rooms where the mind detaches from the world’s momentum and constraints, and expands into a freedom of its own making.

For the inaugural exhibition of the Octone Foundation, 99F Wellington Street becomes our modern-day stone chamber. Sitting within Hong Kong’s hyper-dense and uber-consumerist core, this pre-war shophouse has lived many lives. Within its concrete bones vibrate strange frequencies and subcultural rhythms - first as a Malaysian merchant’s trading post, a clandestine underground jazz bar, a neighborhood hair salon and now, a sanctuary for contemporary art and experimentation. Seven artists convene here to map out the volatile mental topography of creative exploration, traversing stages of uncertainty, curiosity, danger, discovery, joy.
Artists: Dave Chow, Andy Li San Kit, Liao Wen, Chris Zhongtian Yuan, I Gusti Ayu Kadek Murniasih, Evelyn Taocheng Wang, Henry D’Ath. Curator: Eunice Tsang

Opening reception: 8 October, 5–8pm
Gallery address: 99F Wellington Street, Central

We make choices every day. While some are small, others change the course of our lives. Inevitably, we take the wrong turn, push the wrong door, repeat the same cycles we once promised to break. We find ourselves full of regret, but will we acknowledge it? Probably not. After all, the Stoic concept of 𝘈𝘮𝘰𝘳 𝘧𝘢𝘵𝘪 or “love of fate,” urges us to welcome everything with open arms and a strong heart.

𝘞𝘩𝘢𝘵 𝘞𝘦 𝘙𝘦𝘨𝘳𝘦𝘵 𝘔𝘰𝘴𝘵 offers a different perspective.

This exhibition isn't about living in the past. It's an invitation to celebrate the messy, funny, and shameful moments we all share but rarely admit to. Regret, as painful as it is, serves a purpose. It signals what we value and reveals what truly matters. It's not a flaw to be erased, but something we can all learn from. Through stories and objects submitted by the public, each carrying its own baggage, we hope to look beyond tales of failure and find connection in them instead.

Opening event, Thu Oct 8, 6pm

Venue address: The Garage, Heath, Tsim Sha Tsui.

Square Street Gallery is pleased to present ‘Art / Work’, a group show curated by Yulia Yarkova, known for her moniker Galleries Gal. The exhibition responds to how artists in art-adjacent roles channel their lived experience into their practice. To explore this, five artists who work in different roles have been selected: art technician Tiger Wong Ho Lun, art photographer Felix Sze Chung Wong, art educator Kay Mei Ling Beadman, art PR representative Angelique Santos, and gallery assistant AMZY.

Opening reception: 8 October 6-8pm

Gallery address: 21 Square Street, Sheung Wan

From intimate close-ups of mothers and young children to expansive portraits of their living environments, artist Jeeyun Kim has spent over a decade exploring what it means to belong in a world of multiple identities.

In this site-specific exhibition, m < other >光影廊道, Jeeyun presents a deeply personal photographic exploration of identity, belonging, and the experiences of mixed-race families. Inspired by her own multicultural background and family, Jeeyun began the project in 2010, examining how race, culture, and personal experiences shape individual identities. Early photographs focused closely on mothers and young children, highlighting physical similarities and differences, while later works expanded to include the subjects’ living environments, revealing cultural influences through personal spaces and objects. Accompanied by interviews, the portraits show questions such as "Where are you from?" or "Who are you?" rarely have simple answers. The recent inclusion of adoptive families expands this conversation further, illuminating the deep, relational ways we connect with one another.

Artist-led Public Guided Tours
Saturday, October 17
Saturday, October 24, 2026
3:15 p.m. Registration
3:30 p.m.  Guided Tour

Free admission. Online registration is required.

Venue address: Lighting Passage, Asia Society Hong Kong Cente

Featuring works by Tracey Emin, Wayne Thiebaud, Masaru Shichinohe, Makoto Saito and Christopher Makos, PERSONA brings together different approaches to portraiture, identity and the human image.
Spanning generations and cultures, the exhibition reflects on how we present ourselves, how we see others, and how we are seen.

Gallery address: Room 104 Wilson House, 19-27 Wyndham Street

The Cornershop presents the return of “EPHEMEMO-RIES”, a participatory AI art experience shaped by the memories of more than 500 people who shared their stories of Tsim Sha Tsui at The Cornershop in October 2025.

Returning to The Cornershop this October, EPHEMEMO-RIES: PART 2 CITY THEATRE brings the journey full circle — from Hong Kong, to Shenzhen, and back to the place where it began.
This exhibition will tell the city’s stories through AI-generated visual art, installation, performance and participation, and transform The Cornershop through memories evolved into a final collective artwork.

On opening night, TS Crew, a Featured Artist Group of the Hong Kong Performing Arts Expo (HKPAX), will bring “City Theatre” to life through a one night only live performance that combines movement, visual art and urban storytelling.

9 October 2026 | 6:30PM – 8:00PM
Opening Performance by TS Crew | 7:00PM – 7:30PM

Venue address: The Cornershop, Mondrian Hong Kong, 8A Hart Avenue, Tsim Sha Tsui

When digital images are available at our fingertips and artificial intelligence reproduces all things with extreme efficiency, what is the meaning of contemporary realist painting? This is the question Touch Gallery has repeatedly posed to our times since the birth of the *True to Form* series. As we step into a new space, we arrive at the fourth iteration of the exhibition. This is not merely a change of venue, but a profound re-initiation of "seeing" and "gazing."

This exhibition brings together six contemporary realist artists from different regions, each with a distinct aesthetic voice—Fung Chim, Ryohei Matsumoto, Yu Sheng Yu (Ethan), Deng Xiao, Wang Hao Zhun, and Mak Chung Yan (Grace). The "truth" in their work is never a dry, mechanical reproduction of objective reality, but a series of highly subjective visual interpretations and psychological dialogues.

Opening Reception: 2026.10.10 (Sat) 3 - 5pm

Gallery address: 204, Block 3 Barrack Block, Tai Kwun, 10 Hollywood Rd, Central

DE SARTHE is pleased to present Workers' Playtime, the first solo exhibition in Asia by Toronto-based conceptual digital media artist Mitchell F. Chan, on view from October 10 to November 21, 2026. The exhibition transforms the gallery into a game center, inviting viewers to interact with a new body of work consisting of interactive sculptures and video games. These new pieces extend Chan’s ongoing practice of using the rules and mechanics of games as a medium for social critique. These works are more than just entertainment; they are also traps. They invite viewers to engage as players, but ultimately lock them into roles as ineffectual laborers. Their rigged mechanisms deny the user’s agency and instead demand relentless work, exposing the inescapable loop of late capitalist labor. These are not metaphors so much as working demonstrations of a system functioning exactly as intended, of how making labor feel like play can reinforce the structure of that labor rather than offer an escape from it.

Opening Reception: October 10th, 3pm–7pm Artist guided tour will start at 5pm

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

DE SARTHEis pleased to present Echoes of Tonkin: Vietnamese Modern Art, an exhibition tracing the formation of modern Vietnamese art from its precursors to its maturity. Spanning 1905 to 1960, it brings together works by Albert Cézard, Victor Tardieu, Léa Lafugie, Alix Aymé, Joseph Inguimberty, Pham Hau, Le Pho, Nguyen Gia Tri and Vu Cao Dam, alongside two Cham sculptures that recall the far older roots of art in the lands that now form Vietnam.

Vietnamese modern art is widely collected and increasingly well studied, yet it is rarely shown with the context that explains why it looks the way it does. Marking the gallery’s second major survey of the field, Echoes of Tonkin challenges the clichés that reduce this art to a few familiar images and too often leave collectors with a narrow view of it. As gallery founder Pascal de Sarthe puts it, “Vietnamese modern art has long been admired for its charm. I believe it deserves to be studied for its substance, and to take its place in the wider history of twentieth-century painting alongside the movements it drew upon and transformed.”

Opening Reception: October 10th, 3pm –7pm. Curator-guided tour led by Tran Dinh Thuc Doan starts at 4pm

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

Touch Gallery is honored to present an exhibition by Japanese contemporary pop artist JAMSTYLE JARO. Hugely talented and widely popular, his works have captivated audiences in Japan and overseas alike. He has exhibited in Hong Kong multiple times, each drawing extensive attention and enthusiastic response. With this exhibition, Touch Gallery once again brings this sought-after artist to Hong Kong, gathering key facets of his creative journey and inviting audiences to experience his world up close. 

Hailing from Japan, JAMSTYLE JARO's practice began with manga and, inspired by Western classical painting, evolved into a deeper aesthetic dialogue. He seeks to bring two seemingly distant visual languages into conversation—the order of classical aesthetics and the vividness, exaggeration, and vitality of manga—and this collision forms the core of his work.

The large-eyed, mischievous children in his work stem from his experience creating messaging app stickers. Finding such characters especially approachable, he adopted them as an ongoing mode of expression. Bright, lively, and blending the adorable with the absurd, they form JAMSTYLE's highly recognizable visual motif.

Opening Reception: 2026.10.10 (Sat) 3 - 5pm

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

Road, hill, road, mountain, road, plain, desert, dirt track, plain, road, plain…

Long concerned with the urban spaces we continually use and remake, the work approaches each ordinary moment with sustained attention through large- and medium-format film photography. This time a journey through Mongolia forms the axis: the everyday is no longer the familiar repetitions of the city, but a renewed dialogue with land, distance and time.

The artist works primarily with film photography. As a Hong Kong-registered architect who is currently pursuing an MA in Arts and Cultural Enterprise at Central Saint Martins, University of the Arts London. His photographs have received a Silver Award at the Prix de la Photographie, Paris PX3 (2025) and a Silver Award at the Budapest International Foto Awards (2025). Recent exhibitions include As Days Go By (2025, Hong Kong), Decode Gallery: Landscape (2026, Arizona) and the Hong Kong International Photo Festival’s “Guest with Guest” exhibition (2025, Hong Kong).

Opening: 10/10 (sat) 3-6pm
Venue: 10/F, Foo Tak Building, 365-367 Hennessy Road, Wan Chai

SC Gallery is pleased to present “INTERROOTED”, a duo exhibition of mixed media and painting by Hong Kong artists Man Mei-To and Rico Lau.
The exhibition title is adapted from the Buddhist term “the non-duality of body and land”(身土不二), which refers to the inseparable relationship between one’s actions and the surrounding environment. In reinterpreting this concept, Man and Lau arrive at a heightened awareness of the relativity between “body” and “land”.
Presented in a restrained and muted palette, the exhibition brings together bodily fragments and environmental elements through acts of assemblage. Through mixed media and painting, the two artists trace their personal observations of existing within a larger world.

Opening cocktail :10 October, 4-7 pm

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

Ora-Ora is delighted to announce its first collaboration with curator Cyrus Lamprecht for its 20th anniversary exhibition, The Hunch. Featuring works by Stephen Thorpe, Chino Ng, Lee Jinju, Xu Lei, Leung Pui Yi, Belinda Janousek, Wong Sze Wai, Cheng Chit Yan, and Xiao Xu, the exhibition explores intuition, belief, and uncertainty.

The Hunch marks Ora-Ora's 20th anniversary and serves as the opening chapter of Ambiguity, the second phase of curator Cyrus Lamprecht's long-term curatorial project, following the Solitude Trilogy (The Veil of Solitude, The Labyrinth of Solitude, and The Elegance of Solitude). The exhibition signifies a shift in the curatorial programme from an exploration of the experience of solitude towards a contemplation of uncertainty and intuition. Bringing together nine artists from around the world— Stephen Thorpe, Chino Ng, Lee Jinju, Xu Lei, Leung Pui Yi, Belinda Janousek, Wong Sze Wai, Cheng Chit Yan, and Xiao Xu, the exhibition responds to themes of intuition, belief, and uncertainty through diverse artistic approaches, including landscapes, animals, abstraction, and portraiture.

Opening reception: 14 October 2026 | 5pm - 8pm

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

Soluna Fine Art is proud to present 𝑾𝒉𝒆𝒓𝒆 𝑮𝒓𝒂𝒊𝒏 𝑩𝒆𝒄𝒐𝒎𝒆𝒔 𝑳𝒊𝒈𝒉𝒕, Korean artist Kim Duck-Yong’s third solo exhibition with the gallery in Hong Kong. Working with wood, mother-of-pearl and pigment, Kim creates works that embody Jasaengjimi (자생지미), a beauty of self-emergence that is not transplanted from outside but grows from lived memory and inherited sensibility. Kim’s work reinterprets traditional sensibility within a contemporary pictorial language, offering a form of Korean beauty that reaches toward the world without losing its inward core.

Opening Reception: 15 October (Thur) 6 - 8 pm

Gallery address: 52 Sai Street, Sheung Wan

Giorgio Griffa was born in Turin in 1936 where he still lives and works. He is an Italian painter, from the 60s-70s one of the main international exponents of contemporary pictorial research. Although his work has been associated with Arte Povera, Pittura Analitica and Minimalism, Griffa's path, while rich in exchanges and friendships, remains mostly solitary and unclassifiable in a specific current.

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

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.

Gallery EXIT presents Good Morning, Sweet Dreams – Time Blindness, a solo exhibition by KWONG Wing Kwan featuring a new body of oil paintings. Drawing on her awareness of shock, fear, and the shifting conditions of the world, Kwong condenses narrative traces into scenes that register as psychological projections. Continuing her ’Good Morning, Sweet Dreams’ series, she renders contrasts between interior and exterior, tenderness and tension, familiarity and distance.

Opening: Saturday, 17 October, 2 - 6 pm
Gallery address: 3/F, 25 Hing Wo Street, Tin Wan, Aberdeen

In recent years, LI Ning’s practice has revolved around memory, its transformation, and the ways in which memories are continuously rewritten over time. This interest took shape amid a series of social, environmental and personal changes, bringing a heightened awareness of collective memory, how facts can be redrawn, and how lived experience can be preserved. As an artist, Li responded by turning to storytelling, transforming personal and collective experiences into fictional and mythological narratives.

Opening: Saturday, 17 October, 2 - 6 pm
Gallery address: 13/F, 25 Hing Wo Street, Tin Wan, Aberdeen

Chan doesn’t require us to study the research behind his imagery. These ink and oil paintings address us as viewers of pictures rather than as readers of stories. They are visual first and foremost, and the means they employ – figuration, shades of blackness and colour, the juxtaposition of details and sweeping lines – are meant to strengthen them as images. The exhibition does, however, have a title, and it gives us access to the intellectual, emotional and spiritual processes that brought this particular body of work to life. 

For ‘Two Kinds of Protection’ each technique has been connected to a distinct set of figures, doubling as characters from Eastern (Buddhist) and Western (Abrahamic) religious traditions. Maybe we should just take a moment to consider that ‘figure’ and ‘character’ are not the same. Ultimately, the former is a formal category (an appearance) while the latter is a moral one (an appraisal). 

Opening: Saturday, 17 October, 2 - 6 pm
Gallery address: 13/F, 25 Hing Wo Street, Tin Wan, Aberdeen

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

For our 25th anniversary exhibition, 10 Chancery Lane Gallery is pleased to present “Xiao Lu: Against the Wind”, a powerful exhibition dedicated to the life, work, and enduring spirit of pioneering Chinese contemporary artist “Xiao Lu”.

Opening on October 22 from 6–8pm, with a live performance by the artist at 7pm, the exhibition traces Xiao Lu’s remarkable artistic journey, focusing on the history, struggles, and determination that have shaped her practice. Through a deeply personal and politically charged body of work, “Against the Wind” reflects Xiao Lu’s lifelong commitment to confronting social expectations, personal trauma, and the limitations imposed on women’s voices within art and society.

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

Flowers Gallery Hong Kong is pleased to present Mixed Blessings, an exhibition of new paintings by London-based Tai Shan Schierenberg. Marking the artist's first solo presentation in Asia, the body of work expands Schierenberg's ongoing exploration of the convergence of identity, memory, and cultural inheritance. Born in England to a Malaysian-Chinese mother and German father, Schierenberg grew up between Malaysia, the Black Forest, and London. These influences emerge in landscapes and portraits painted in rich, accumulated layers of colour and gesture, through which Schierenberg considers what it means to belong.

Gallery address: 49 Tung Street, Sheung Wan

Blue Lotus Gallery presents Fan Ho – Hong Kong Symphony, on view from 23 October 2026 to 29 March 2027. Opening alongside the release of the new publication Hong Kong Symphony, the exhibition brings together Fan Ho’s photographs of Hong Kong from the 1950s and 1960s and places them in dialogue with selected vintage works by other photographers of his generation. Together, they offer a broader view of the photographic culture of post-war Hong Kong and a renewed perspective on one of the city’s most distinctive visual voices.

Gallery address: 28 Pound Lane, Sheung Wan

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

Asia Society Hong Kong Center proudly presents Ho Kan: The World Opens Between Forms

This exhibition marks the major international debut of pioneering post-war abstract artist Ho Kan (b. 1932). Co-founder of Taiwan’s Ton-Fan Art Group, he later spent 50 years in Milan, uniting Asian philosophies with Europe’s post-war avant-garde. Unveiling new archives and research to advance global art history, this retrospective features artworks that welcome all audiences on a transcultural journey.

Venue address: 9 Justice Drive, Admiralty

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

Do Ho Suh (South Korean, born 1962) is one of the most prominent artists working today. Do Ho Suh: Belonging will be the artist’s first institutional solo exhibition in Greater China, featuring works spanning three decades, from the 1990s to the present.

The exhibition presents a series of Suh’s renowned fabric architectural installations. Referencing his diasporic experience having lived between Seoul, New York, and London, these installations are detailed, life-sized replicas of his former and current residences. They encourage visitors to reflect on their own memories of home—shaped by culture and identity—as well as ideas of mobility and place. Complementing these, the exhibition features several of the artist’s early works that explore the individual and the collective, informed by historical legacies of subjugation and conscription in South Korea as well as reflections on the notion of personal space. It also includes a selection of his delicate thread drawings and cyanotypes, which combine his reflections on identity and connection with a deep interest in materiality. More recent speculative projects and video installations reveal Suh’s ongoing exploration of boundaries and belonging, informed by his experience navigating a dual identity between homes and a world in a state of extreme instability.