Issue

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

TarraWarra: TarraWarra Biennial

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

Tokyo: Kunié Sugiura

Shanghai: Cheng Ran

Beijing: Shoji Ueda

Beijing: Shoji Ueda

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

Hong Kong: A Hollow in a World Too Fulls

Jakarta: Indonesia, Spirit of the World

Jakarta: Indonesia, Spirit of the World

Ramallah: Subcontracted Nations

Ramallah: Subcontracted Nations

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

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

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

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

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

New York: Tadanori Yokoo

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

Minneapolis: Siah Armajani

Los Angeles: Tomoo Gokita

Los Angeles: Tomoo Gokita

(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

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

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.

Izumi Kato