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

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

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

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

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

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

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

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

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

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

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

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

Venue address: West Gallery, L2, M+

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

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

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

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

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

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

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

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

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

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

Venue: Gallery 4, Hong Kong Palace Museum

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

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

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

"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.

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

Rishika Assomull, Senior Director of VILLEPIN

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

Gallery address: 53-55 Hollywood Road, Central

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

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

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

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

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

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

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

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

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

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

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.

Established in Shanghai in 2004 by Song Tao and Ji Weiyu, Birdhead work collaboratively across photography, collage, installation, and publishing, constructing densely layered portraits of contemporary urban life. Drawing from thousands of images captured in their daily surroundings, the duo reconfigure fragments of the photographic image into immersive visual compositions that blur documentation and abstraction, memory and invention.

This selection of recent collages continues Birdhead's longstanding exploration of the image as both archive and material. Incorporating cut and reassembled photographs, printed matter, handwritten markings, nails, and paper surfaces, the works combine colour and monochrome visuals alongside architectural details, street scenes, gestures, reflections, and fleeting encounters into rhythmic compositions that balance figuration with abstraction.

This exhibition follows Flowers Gallery's Art Basel Hong Kong 2025 presentation of Birdhead World - Clorionline City, a large-scale installation composed of 124 recontextualised photographs taken over the last decade in Hong Kong. Expanding on the pictorial language of that work, these more intimate collages offer concentrated studies of Birdhead's distinctive approach to image-making, where photographic fragments are transformed into composite, fictionalised narratives, individually and as a collective statement.

Gallery address: 49 Tung Street, Sheung Wan

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

Antenna Space is delighted to announce Swayy Wayy, a solo exhibition by artist Li Ming, marking a significant presentation at Antenna Space Hong Kong in Wong Chuk Hang. The exhibition will run from June 6 through August 8, 2026.

Opening Talk – Li Ming in conversation with Anthony Yung at 18:30-20:00, 6th June.

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

Domingo Milella (Bari, 1981) studied photography at the School of Visual Arts in New York under the guidance of Stephen Shore. Thomas Struth was a key mentor. He currently lives between Bari and London.

His works have been exhibited at institutions such as the Biennale d'Arte, Rencontres d'Arles, Museo Nazionale Romano, Foam Museum, Tracy Williams Ltd and Fondazione Museo Pino Pascali, MAXXI and Marco in Rome. His works are part of numerous collections, such as the Museo Pecci in Prato, the Margulies Collection in Miami and Borusan Contemporary in Istanbul. His solo exhibitions include shows at Brancolini Grimaldi in London, Tracy Williams Ltd in New York and “Solitario” at Doppelgänger in Bari. In 2014 he published his first book with Steidl, “Domingo Milella”, and in 2015 he was among the curators of the exhibition Tempo al Tempo at the Roman Road Gallery in London.

Venue address: G/F, Landmark Chater, 8 Connaught Road Central

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

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

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

Opening reception: 6:00 pm – 8:00 pm

Gallery address: 68 Lok Ku Road, Sheung Wan

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

Taking "Resusci Anne" as a starting point, this exhibition explores the complex nature of "helping." Amidst social unrest and crises, aid is not merely a link for survival, but a tapestry woven with bystander struggles and the dynamics of control. Through various media, artists aim to reinterpret the social function of art—often labeled "non-essential"—to transform trauma and reflect on the diverse imaginations of mutual aid in the contemporary era.

Artists: Chan Kin Sing, Kingson｜Cheng Sze, Tracy｜Kwan Yung Yee｜Man Wing Yan, Carol｜Wong Wing Sang

Opening reception: 28.06.2026 (Sun) 3:00pm

Gallery address: 1a space, Unit 14, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan, Kowloon

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

Kiang Malingue is pleased to present Dwelling in Mirrors, a solo exhibition by Wang Xiaoqu at its Hong Kong location, featuring over a dozen oil paintings created over the past year. The series expands upon the artist’s recent artistic trajectory—a transition at once poised and intense. As the artist turns her gaze inward, she recalibrates the relationship between the self and the other, utilizing her captivating canvases to reimagine social milieus, friendships, temporal existence, and the ruptured link between the ego and its projected ideals—the self dwelling in mirrors. This is Wang Xiaoqu’s first solo exhibition with Kiang Malingue.

Over the past decade, Wang has woven complex visual narratives through technically exquisite and unexpectedly composed paintings. She favours depicting startling, confounding tableaus, where recurring imagery of middle-aged men and sophisticated social situations elicit a subtle sense of unease while accentuating power dynamics and emotional conflicts. A palette alternating between sugary and cold tones intensifies the persistently fraught relationships between the figures, animals, and flora within her concise compositions. What feels intense, bordering on violent, is not only the movements of Wang’s characters, but also her own gesture: envisioning and weaving tenuous connections between humans and objects within a weightless void.

Opening: Thursday, 25 June, 6 – 8 PM

Gallery address: 10 Sik On Street, Wanchai

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

Every Good Boy Does Fine takes its title from the mnemonic taught to beginner music students in English-speaking countries to memorize the lines of the treble clef staff: E, G, B, D, F. The phrase carries the quiet authority of things learned so early they feel like nature — what Bourdieu called habitus: dispositions absorbed in childhood, before conscious choice begins, reproducing social hierarchies precisely because they feel like instinct.

The British version says the good boy deserves favour. One is an outcome; the other an entitlement. That the same five notes produce two such different ideological statements — absorbed by children on either side of the Atlantic without knowing another version exists — is precisely what the exhibition is interested in. What else was learned this way, and what does it cost?

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

SC Gallery is pleased to present “Sculpting in Wind”, the first solo exhibition of Ho Lok Chung, Dave in a decade. Ho’s artistic practice began with painting, later expanded to woodworking, and has focused on ceramics in recent years. Having spent over a year in Jingdezhen, Ho merges a decade of cross-medium vision and experience to his new body of work, centering on the theme of ‘wind-sculpted treescape’

At the opening, SCG has invited Dave and renowned ceramist Rachel Cheung to share their insights on material exploration and the creative process.

Opening talk: Jun 27, 2:30-3:30 pm

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

EJAR RAGORA presents A Kung Ngam: Stone, a solo exhibition of photographer Shek Po Kwan 石寶鈞.

A Kung Ngam Village is situated in Shau Kei Wan, next to photographer Shek Po Kwan’s studio. His visual explorations, and personal interactions with inhabitants, document the unique materiality and social fabric of an area on the cusp of redevelopment.

石 (Stone) - 1: A solid concretion of earthy or mineral matter of indeterminate size or shape. It can be used in building constructions or taken as a singular unit for other purposes such as demarcation, ornamentation or tool-making. It can be a functional or ritualistic object, continuously appearing in our everyday life. When strong winds sweep across Hong Kong, you can find them anchoring the rooftops of many villages, securing the house together.

石 (Stone) - 2: The foundational material used to construct A Kung Ngam Village (亞公岩村) in Shau Kei Wan (筲箕灣), which was primarily built by Hakka migrants from Guangdong. Employed by the nearby quarry as skilled stonemasons, the villagers supplied Hong Kong with its foundational granite and brought prosperity to the community. The villagers built temples from it, while the shipyards exporting stone doubled as places for dragon boat racing, making the object not only an architectural tool but a communal binding agent in every sense of the word. It provided homes, livelihood and cultural connection to those living in the area.

石 (Stone) - 3: The family name of artist Shek Po Kwan. Born in A Kung Kok (亞公角) in 1988, he has been practicing photography for fifteen years. He came across A Kung Ngam Village while searching for a studio space and chanced upon a unit in the building next door, where he also co-founded the artist-run space EJAR RAGORA. He has nurtured relations with the village’s inhabitants throughout his time there, solidifying links for the past two years. With the upcoming redevelopment of the area, this project honours its community and the material at its core. “Stone” becomes a vessel of personal and cultural significance, a material steeped in the foundations of Hong Kong and its people.

Opening: 27th June 5–9pm

Appiontment link

Venue address: A Kung Ngam Village Lane, Shau Kei Wan

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

Art of Nature Contemporary presents “Writing Without Borders”, solo exhibition by Qin Feng, on view from July 10 to August 15, 2026.

For Qin Feng, creation detaches writing from its linguistic function, returning ink and brushwork to a deeper realm of cultural memory and spiritual experience. His unreadable traces and symbols evoke ancient steles and contemporary abstraction, oscillating between the recognisable and the unknown.

“Writing Without Borders” embodies a book without boundaries, a spiritual act that transcends time, connects past and present, and explores the evolution of human civilisation.
Opening Reception: 10 Jul, 2026, 5:00 – 8:00 PM

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

Blindspot Gallery is pleased to present “Play and Loop VII”, its seventh iteration, from 10 July to 15 August 15. The exhibition features the recent video works of Sin Wai Kin, Wang Tuo, and Zhang Xu Zhan, alongside the video documentation of Isaac Chong Wai’s monumental performance Falling Reversely (2021/2024) featured in the Main Exhibition of the 60th Venice Biennale. The four artists’ works span speculative worldbuilding, art historical references, docufiction, stop motion animation, and performance. While Wang Tuo and Isaac Chong Wai’s works examine contemporary social conditions and marginalization that arises from systemic inequalities, Sin Wai Kin and Zhang Xu Zhan explore the role of storytelling in creating culture and history. Together, their works consider the ways narratives, images, and collective experiences shape our understanding of reality.

This is a private viewing and by appointment only. Please book your visit here by indicating your preferred date and time, and your email contact. A confirmation email will be sent to you, please present the confirmation email upon arrival.

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

DEVEDO is pleased to present The Reflection of Soul, a solo exhibition by Chinese photographer Yang Yankang, in celebration of the bookshop’s first anniversary, on view from July 10 to August 15, 2026. The exhibition centers on faith as lived and observed among monks and laypeople in the Tibetan regions. Hailed as a milestone in contemporary Tibetan photography, the work documents daily life while also exploring the relationship between people and their beliefs.

Yang Yankang (1954-) is a rare photographer who has devoted himself to photographing religious beliefs. Beginning in the 1990s, he spent thirty years photographing Catholics, Tibetan Buddhists, and Muslims, completing his “Faith Trilogy” as a mission. His lens avoids sensationalism and the exotic, instead recording the lives of believers with different faiths in China.

During the years, Yang not only photographed the lives of Tibetan people but also focused on Buddhist monks, documenting how they live their faith and how they steadfastly uphold their beliefs in practice. Through his lens, monks recite scriptures, play with toy cars, blow the Dharma Conch, play with cats, and perform Tibetan opera. The often unattainable and sacred image of Tibetan Buddhism becomes serene and approachable in these moments.

Time: 2:00–7:00 PM (Wednesday–Saturday, by appointment) 

Gallery address: 6J, Block 2 Kingley Industrial Building, 33 Yip Kan Street, Wong Chuk Hang

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

The figures in Von Wolfe‘s paintings do not explain themselves. They offer no easy entry, no familiar gesture of welcome. They are present, composed, entire unto themselves - and in that self-containment lies their quiet authority.

Simone Weil wrote that attention is the rarest and purest form of generosity: not the strained concentration of the will, but a kind of suspension, a waiting in which the soul empties itself in order to receive. The figures gathered across these fourteen works inhabit precisely that state - a complete stillness that reads not as passivity but as concentrated attention, an emotional restraint that signifies strength rather than absence. Women hold roses, command animals, stand beside artificial constructions of their own making, ride through impossible gardens. Whatever the action or setting, the underlying posture is constant: a figure who contains rather than expresses, who holds rather than releases, whose silence is full.

Join us at our opening reception: 6-8pm, 10 July (Fri)

Gallery address: 10/F, H Queen’s, 80 Queen’s Road Central

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

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

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

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

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

Whitestone Gallery is pleased to present Becoming Her, a group exhibition that brings together the practices of Rebecca Bernau, Azuki Furuya and Shizuka Ando—three artists who approach the figure not as a fixed subject, but as a site of transformation. Across painting, collage, and hybrid processes, their works unfold a quiet yet persistent inquiry into how the self is formed: through memory, through material, and through the unseen forces that shape perception and belonging.

Opening reception: 07.11 (Sat) 3 - 6 pm (Artists will be present)

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

In Seiji Sonoke’s works, there are no clear objects that immediately captivate the eye. Presenting no traces of tangible form, the works often leave viewers perplexed. Yet, this absence of form is also the most defining characteristic of Sonoke’s practice, and the primary reason it is often seen as esoteric. What, then, is the purpose of such works? Sonoke’s answer comes without hesitation: to create an ideal space. Does this refer simply to a space that would be comfortable for the artist? This space undoubtedly does express the artist’s inner world. However, it is also much more. To Sonoke, such a realm is a primordial space, much like the astrophysical state of the universe prior to the Big Bang, charged with the tension of all things yet to be formed. Simultaneously, it encompasses the principles of the human world, beauty and ugliness, good and evil — all elements that may stir human emotions. Sonoke finds affinity between his art and the Zen Buddhist concept of “ku” (emptiness). The space he aims to create is a primordial plane at the very foundation of being, from which all phenomena and objects originate. 

Opening Reception: 12 July, 4:00 pm – 7:00 pm

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

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

We are delighted to announce Ora-Ora Shop’s zesty summer pop up within the Ora-Ora space in Tai Kwun.

Curated with the lightness and warmth of summer in mind, the pop-up will include a range of international and Hong Kong brands which best express the understated passion and fresh excitement of a contemporary urban summer.

Visitors of all ages and demographics are invited to see, buy and collect the finest of what Hong Kong and international design creativity has to offer, curated by Ora-Ora Shop’s dedicated team.Items are chosen with an accent on innovation and practicality. In a testament to the phenomenal diversity of local creativity, Ora-Ora Shop includes a panoply of ingenious, sunlit and visionary Hong Kong brands. The line-up of exquisite and thought-driven creators includes: Arnolfini Collection, Bei Bei Collection, Creature Collectors Club, Diffuser Art, The Lanes, Siu Su Gok, Tao Fong Shan and Yantin Ceramics.

Opening Reception: July 16, 3:00 pm - 6:00 pm

Gallery address: 105-107, Barrack Block, Tai Kwun, 10 Hollywood Road

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

“Remains” features several new works by artist Ling Sum-yi, centering on the psychological perception and emotional contingency within the individual and family. Departing from reconstructing superficial familial memories, the exhibition pivots toward certain repressed states within intimate relationships. By utilising various medium, the artist attempts to transfer unutterable emotions into visceral physical sensations and material tension.

The spatial orchestration—seemingly rigorous and orderly, yet trembling and convulsive within—is not merely a reflection between self, emotion, and individual relationships, but also the attempt to catalyse the purest feelings and use visual language to reconstruct the boundaries of perception and sustain the confrontation of emotions.

Opening: 17.7.2026 17:00-20:00
Gallery address: 13A Prince’s Terrace, 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

Gallery EXIT presents a solo exhibition by Elah WONG Tsoi Wai, ‘Wild Awhile’, primarily featuring the artist’s latest paintings alongside a series of ceramic works created in collaboration with ceramicist Benny TO Kai On.

For Wong, this year has unfolded as an open-ended process of exploration, with her practice attuned to the ebbs and flows of life. Her work evolves alongside life’s trajectory, guided by the impulses of the present moment. She approaches the canvas as a space of continual transformation; through layers of colour and repeated gestures of rubbing and erasing, images emerge, dissolve, and re-form. Deliberately relinquishing coherent narrative logic, she allows conflicting imagery to coexist freely—apples become intersecting antennae, while melancholic thoughts are distilled into spare, economical lines. Each mark serves as a truthful record of her thinking.

Opening Saturday, 18 July, 2 - 5 pm

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

I have always wanted to create objects related to Chinese culture. For this exhibition, I have incorporated carving techniques and blended the elements of the “Four Gentlemen” (Traditional Chinese culture): plum blossom, orchid, chrysanthemum, and bamboo.

Since I was a child, my father has always loved Chinese craftsmanship. Our home used to be full of wooden Chinese furniture and Chinese hanging paintings.
I later studied and worked abroad, and it was only when I returned to Hong Kong that I reconnected with these roots. The items steeped in Chinese culture left behind at home—stemming from my father’s deep love for crafts like woodwork and ceramics—along with various ornaments and furniture, have remained deeply etched in my mind. I have always wanted to present them in my own unique way.
When we were small, my grandmother and father would gift us pendants, such as jade ornaments, or notebooks. On one occasion, my father gave my three sisters and me a set of notebooks themed around the plum blossom, orchid, chrysanthemum, and bamboo.
My Chinese name is Chan Kwan Wai. Whenever someone asks me which “Kwan” it is, I always reply that it is the “Kwan” with the bamboo radical. Because of this, I have always had a special affection for bamboo.

Gallery address: S704, 7/F, Block A, PMQ, 35 Aberdeen Street, Central

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 

Organised by the Hong Kong Arts Development Council (HKADC), “Youth Arts Week”, the signature programme of the 18th Arts Ambassadors-in-School Scheme (AAiSS), will kick off on 24 July.  Themed “United in Imagination”, this year’s “Youth Arts Week” presents a diverse line-up of arts activities at The Mills in Tsuen Wan from 25 July to 16 August. Featuring arts experiences, workshops, a cappella x tap dance performances, an arts bazaar and more, the programme invites everyone to explore and celebrate the infinite possibilities of the arts in summer.  As a prelude to the summer festivities, a pilot activity, “Alumni Studio Visit,” was held in late June.  Over 70 current arts ambassadors visited the studios of two alumnae artists, gaining insight into the artists’ daily practice and setting the stage for an inspiring artistic summer ahead.

Travelling Through Time: Exploring the Stories of Tsuen Wan

The highlight of this year’s “Youth Arts Week” is the immersive arts experience “Time Pocket Station” co-created by illustrator UUendy Lau and embroidery artist Stephanie Kwok. Incorporating illustration and embroidery works by arts ambassadors, the installation creates an immersive setting that journeys between the year 2090 and present Tsuen Wan. Through multiple interactive elements and photo spots, visitors are invited to rediscover the community stories from a fresh and imaginative perspective.

Venue address: M/F, 45 Pak Tin Par Street, Tsuen Wan

By the Body of the Earth. Quietly one.

Buddhism speaks of "Return to dust”.

a slow homecoming rather than an ending

Let the noise of urgency grow distant.

like a tide pulling from shore.

Venue address: Yuen Fat Industrial Building, Room 01, 6/F, 25 Wang Chiu Road, Kowloon Bay

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

Registration required: linktr.ee/wyndhamsocial

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

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

We recognize things by depending on the context in which they are placed.

 Food looks like food because it sits on a table. Animals look like animals because they exist in nature. Toys look like toys because they are held in a child's hands. Context is the invisible foundation that supports the "meaning" of things. In the paintings of this exhibition, the motifs have no such foundation. Snap peas float in a void, a moose stands indoors, a beluga whale exists within darkness.

They arrive on the retina as things we have surely seen before, yet we cannot tell where they are. Familiarity and strangeness overlap on the same image. The longer we look, the more what we thought we knew begins to recede. The feeling is strangely quiet — closer to suspension than to unease. And at the same time, the opposite is also true: what was unfamiliar gradually draws near, through the quiet form of painting.

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