The Editors

ISADORA VAUGHAN, Canker Sore, 2018, ceramic, epoxy, synthetic polymer sheet, steel, glass, silicon, crushed rock and sand, dimensions variable. Installation view at “From Will to F

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TarraWarra: TarraWarra Biennial

Eloise Breskvar

KUNIÉ SUGIURA, Hoppings A Positive, 1996, gelatin silver print, 8 x 10 cm. Courtesy Taka Ishii Gallery, Tokyo/New York.

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Tokyo: Kunié Sugiura

Maki Nishida

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Shanghai: Cheng Ran

Arthur Solway

Beijing: Shoji Ueda

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Beijing: Shoji Ueda

Tom Mouna

CAO FEI, Rumba, 2015–18, wooden stage and cleaning robots, dimensions variable. Installation view of “A Hollow in a World Too Full” at Tai Kwun Contemporary, Hong Kong, 2018–19. Co

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Hong Kong: A Hollow in a World Too Fulls

Ysabelle Cheung

Jakarta: Indonesia, Spirit of the World

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Jakarta: Indonesia, Spirit of the World

Vera Mey

Ramallah: Subcontracted Nations

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Ramallah: Subcontracted Nations

Brady Ng

London: Five Heads (Tavan Tolgoi) – Art, Anthropology and Mongol Futurism

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London: Five Heads (Tavan Tolgoi) – Art, Anthropology and Mongol Futurism

Ned Carter Miles

New York: the Progressive Revolution: Modern Art for a New India

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New York: the Progressive Revolution: Modern Art for a New India

Mimi Wong

TADANORI YOKOO, “Back of Head” series, 1980, 21 watercolor works on paper, 69 x 54.5 cm each. Installation view of “Death and Dreams” at Albertz Benda, New York, 2018. Photo by Cas

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New York: Tadanori Yokoo

Mimi Wong

SIAH ARMAJANI, Room for Deportees, 2017, from the series “Seven Rooms of Hospitality,” 2017. Metal, wood, barbed wire, mailbox, hat and purse, 243.8 x 305.4 x 111.1 cm. Installatio

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Minneapolis: Siah Armajani

Joobin Bekhrad

Los Angeles: Tomoo Gokita

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Los Angeles: Tomoo Gokita

Jennifer S. Li

(Left) CIRCLES AND CIRCUITS: CHINESE CARIBBEAN ART By Alexandra Chang, Evelyn Hu-DeHart, Julia P. Herzberg, Mar Hollingsworth, Walton Look Lai, Sean Metzger, Patricia Mohammed, Lok

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BOOK REVIEWS: The Art of Place, the Place of Art

Don J. Cohn

Izumi Kato in his Hong Kong studio. On the right is an untitled painting, which he had just completed on the day of ArtAsiaPacific’s visit.

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Izumi Kato

Chloe Chu

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