The Editors

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

Keiichi Tanaami

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Keiichi Tanaami

The Editors

MINOUK LIM, On Air, 2017, various objects including gourd, feather, infrared lamp, fake hair, incense, car headlight, speaker and camera, dimensions variable. Installation view of

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Busan: Busan Biennale

HG Masters

Still image from *YOUNG-HAE CHANG HEAVY INDUSTRIES*' _ART IS A LIE THAT JUST W0N'T DIE_, 2014, HD QuickTime movie with original text, sound: 6 mins 29 secs. Courtesy Young-Hae Chan

Ideas

Young Hae-Chang Heavy Industries: H0W L0NG IS F0REVER?

Kaitlin Chan

*APICHATPONG WEERASETHAKUL* on the set of _Cemetery of Splendor_, 2015, feature film, color, sound: 2 hrs 2 mins. Photograph Chai Siris. Courtesy Kick the Machine Films.

Ideas

Apichatpong Weerasethakul: A Performance of Dissent through Cinema

Najrin Islam

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

Imported

A Hollow in a World Too Full

Ysabelle Cheung

SHOJI UEDA, Papa, Mama and Children, 1949, Gelatin silver print, 20 x 28 cm. Courtesy Shoji Ueda Office and Three Shadows Photography Art Centre, Beijing.

Imported

Shoji Ueda

Tom Mouna

IRENE CHOU, Untitled, 1995, ink on paper, 152.4 x 106.7 cm. Courtesy Akiko Yamazaki and Jerry Yang, and the Iris & B. Gerald Cantor Center for Visual Arts, Stanford.

Imported

Understated Visionaries

Olivia Wang

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