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

"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

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.

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

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

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

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

Please register for a tour.

Venue address: 11 Peel Street, Central

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

University Museum and Art Gallery, The University of Hong Kong

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

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

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

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

Venue address: Main Hall Gallery, G, M+

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

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

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

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

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

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

Opening reception: 4pm

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

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

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

Opening reception: 22 August 5-7pm

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

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

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

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

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

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

Opening reception: 22 August, 4-7 pm

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

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

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

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

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

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

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

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

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

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

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

Opening Reception: 27 August at 6 – 8pm. 

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

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

Every day, we face the same question: what should we eat today? After all, there are only so many meals in a day. We scan the menu, hesitate, weigh our options — and finally choose the flavor we most crave at that very moment. It's such an ordinary act that we almost forget: life is built, bite by bite, from these seemingly insignificant moments.

We also forget that certain flavors can carry us back to a certain place. It might be a bowl of noodles, a piece of candy, or a table full of home-cooked dishes. Or it might be a person, a city, a time we can never return to. As we grow older, we start counting calories, prices, minutes. We even begin to question whether the joy before us is really worth it. Sometimes we move so fast that we forget to pause — to simply sit down and enjoy a proper meal.

Opening Reception: 2026.9.12 Saturday 5 - 7pm

Gallery address: Shop 202, 1-2/F, Tai Kwun, Central

Augmented Reality continues the miniature scale that has defined Cement Eclipses since 2006: small figurative sculptures of the same archetypal character — a middle-aged, bald man in a grey suit — reduced to a size that forces the viewer to lean in, to look closely at something that would otherwise be overlooked. Where Cement Eclipses uses public space itself to distort scale, placing these tiny figures in cracks, corners, and forgotten urban surfaces, Augmented Reality transplants that intimacy into the gallery, using domestic and everyday objects — a sardine can, a birdcage, a face mask, a rusted oil tin — as the new architecture of confinement and exposure.

The titles trace a psychological arc rather than a narrative. Dreamer  sleep on top of money, oblivious or resigned. Isolated and the Augmented Reality cage pieces show the same man boxed in, distracted by a phone or lost inside a VR headset — the cage no longer a metaphor but the literal architecture of a mediated life. The concave face of Follower returns the gaze to the spectator — an inversion in which the object being observed observes you back. Tar Pit sinks slowly into a substance indistinguishable from himself. Influencer, Eve, and Adam push the domestic or industrial object — a face mask, a found tin — toward something closer to a cradle, a trap, or packaging: the human reduced to product, origin myth reduced to branding.

Gallery address: Shop 202, 2/F, Block 3, Tai Kwun, 10 Hollywood Rd, Central

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

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

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

Opening: 4 September, 6-7 pm.

Gallery address: 119 Second Street, Sai Ying Pun

Shredding is a routine ritual meant to erase and protect. Grounded in over a decade of social service experience, my practice routinely intersects with A4 documents laden with sensitive personal data. Once shredded, these ordinary sheets transform into quiet vessels of privacy, secrets, and fragmented history. The paper itself is weightless, yet the human weight it carries is immensely heavy.
This series engages philosopher Martin Heidegger’s concept of aletheia (truth as unconcealment)—transforming the process of destruction and cutting into a “clearing” (Lichtung). By reconstructing shredded remnants, I carve out an open space within a closed system, allowing buried traces to emerge. Through the act of tearing and reshaping, physical waste ceases to be a mere heavy burden, becoming a quiet reflection on privacy, identity, and shared memory.

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

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

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

Opening Reception: 5 September | 4 - 8 pm

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

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

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

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

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

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

Opening: Saturday, 5 September, 2 - 5 pm

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

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

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

Opening Reception: 2026.09.05 (Sat) 3 - 6 pm

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

DE SARTHE is pleased to present After ‘Intelligence’, a solo exhibition by Hong Kong-based artist Lau Wai, on view from 5 to 25 September 2026. Five video works together with a single-player video game across three installations chart a closed loop in which humans undergo AI training while AI learns to mimic humans, landing on a question that has become unavoidable: what defines the human in this digital age? At the center of that narrative is Wai, a digital avatar Lau built by motion and facial capture. Wai begins as an office worker who signs up for a “Human to AI” training course to stay competitive, and is digitized in the process. The exhibition concludes the ninth annual de Sarthe Artist Residency (deSAR).

Opening on Saturday, September 5th from 3-7pm. The artist will be present.

Gallery address: 2/F, Block A, Vita Tower, 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

Behind every collected work lies an unspoken story — one shaped not only by value or provenance, but by encounter, memory, and resonance. From today to 24 September 2026, Bonhams Hong Kong presents GAZE: Through the Collector’s Eye, a selling exhibition that explores art through the lens of collectors.

The exhibition brings together 15 selected modern and contemporary works across periods, geographies and artistic styles — from modern portraiture, still life to post-war abstraction and expressive landscapes. Featured artists include Léonard Tsuguharu Foujita, Bernard Buffet, Georges Mathieu, Joan Snyder, Lucy Bull, Hsiao Chin, Hao Liang, Li Huayi, Stephen Wong Chun Hei, and others.

GAZE brings these dialogues to the forefront by pairing selected works with candid reflections from collectors. Seen through the collector’s eye, the exhibition invites viewers to encounter the works from a more personal perspective — and to discover their own points of connection.

Venue address: 11/F, Six Pacific Place, Queen’s Road East, Wanchai

A Self-Portrait: The Process of Erasing presents Chilai Howard’s solo exhibition as both a personal journey and an inquiry into what constitutes memory, objects, and the self. At its core lies a paradox: to let go of a memory, one must first give it a final form, while recognising the impossibility of ever possessing the past itself.

The artist deliberately metallises objects associated with different stages of his life. Through metallisation, fluid memories are given a rigid, continuous surface. Memories, regrets, attachments, and pain appear preserved, made durable, even monumentalised, while traces of lived experience disappear beneath the same metallic skin. The process simultaneously preserves and erases, taking on an almost ritualistic function. Rather than destroying the objects, he withdraws them from their ordinary functions, seals their former surfaces, and transforms them into something closer to relics. The object remains, but something of its former life has also been concealed.

Public engaged performances: Give and Take
12.09. & 3.10.2026 (Sat), 3:00 PM - 6:00 PM

Opening reception: September 7 (Mon) at 6:30 PM in the presence of the curator and artist.

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

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

The Corner Shop presents “Mental. Behaviour. Capacity”, a multi-media exhibition by Hong Kong artist, writer, and disability rights advocate Sophie Cheung (張馨儀).

Through installation, video, painting, ordinary objects, and participatory works, Cheung transforms everyday materials, including painkillers, erasers, newspapers, tree branches, and table-tennis paddles, into poetic explorations of memory, identity, and human agency. Suspended between the everyday and the discarded, these materials invite visitors to reflect on the traces we leave behind.

Drawing from her lived experiences and over a decade of advocacy around the Convention on the Rights of Persons with Disabilities (CRPD), the exhibition examines how legal, medical, and social systems shape the ways individuals are seen and understood. At its core is the legal term "legal capacity": how the law assesses a person's mental state to negate their legal capacity, rendering them incapable of autonomous decision-making.

Opening reception: 9 September (Wednesday), 7PM - 8PM

Venue address: The Corner Shop, 11A Hart Avenue, Tsim Sha Tsui

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

Hong Kong visual artist Matthew Tsang continues his exploration of materiality, transforming the exhibition space into a dynamic site for perceptual experimentation. Works are constructed from the physical traces of material transformations shaped by time and environment. By using these shifts in material states as a medium, Tsang investigates the subtle yet tense connections between everyday life, culture, the environment, and the contemporary state of human existence.
This exhibition places strong emphasis on site in flux and process. Over the course of the exhibition timeline, the artist will continuously interact with the installed works, reconfiguring and altering the scene. The artworks are no longer fixed outcomes, but evolving organisms that change over time. The exhibition space thus becomes a fluid site of dialogue among artist, material, and viewer.

Opening reception: 11.09, 5:00 – 7:00pm

Gallery address: 9/F, Cheong Tai Factory Building, 16 Tai Yau St, San Po Kong

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

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: ACO Art Space, Foo Tak Building, 365-367 Hennessy Road, Wan Chai

DEVEDO is pleased to present Ngau Chi Wan: Elegy in Platinum, a solo exhibition by Hong Kong photographer Jason Lau, showcasing his platinum/palladium images of Ngau Chi Wan.

The texture of memory is often most poignant when it is on the verge of vanishing.

With over two centuries of history, Ngau Chi Wan is one of the oldest remaining villages in urban Hong Kong—a testament to generations of agricultural life and close-knit community warmth. Just a lane away from the old market beyond the Ngau Chi Wan Village archway, the village is facing its final days. Stepping inside, visitors are greeted by rows of tin-roofed houses; the steamers of the once-bustling Sun Lung Shing Tea House are long gone. As the hustle and bustle fades, how do we say farewell?

Time: 2-7PM (Wednesday–Saturday, by Appointment)

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

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 work draws inspiration from my observations and reflections on nature. I focus on elements encountered during hikes, using abstract ink techniques to capture their mystery, distortion, and intertwining forms, as well as their interaction with my inner world. These works aim to seize the fleeting, elusive beauty of nature, revealing the interplay of existence and transience. I hope viewers feel nature’s ever-changing depth through these paintings.

Entrance captures a striking moment upon entering a forest. The painting depicts a broken tree trunk with roots sprawling and intertwining with the earth against a dark environment.

Opening Reception: 12 September (Saturday), 2–6pm

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

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

Borrowing from the psychological language of cinema and literature, this exhibition seeks to explore the undisclosed tensions which lie beneath the superficial compulsions - money, status, success - that govern modern life. Obsession, desire, violence, vanity, fear, these impulses, which in their excess become volatile and destructive, are the forces, fractures and extremes which often drive the creative impulse. PSYCHO: Identity Alienation Shadow Duality will reveal that appearances are not always what they seem, and that, just beneath the surface, lies a darker, more unstable, and often more seductive, reality.

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

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

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

Gallery address: 49 Tung Street, Sheung Wan

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

A solo show of paintings by Xi Jiu ,”A Tiger in the Clover Garden,” opens next Saturday, September 19, from 2-7pm.

In Xi Jiu’s new works, the domestic and the surreal converge, transforming banality into dreams. Animals, plants, and humans suggest our ancient entanglements, collapsing space and time.

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