Issue

TOM NICHOLSON, Scenes for an Archipelago, 2015–16, Twelve unsynchronised HD videos and sixty-five resin-cast diorama figurines. Courtesy the artist and Milani Gallery, Brisbane.

Brisbane: Frontier Imaginaries

LIU WEI, Merely a Mistake II No. 1, 2009–12, Doors, door frames, acrylic board and stainless steel, 670 x 450 x 320 cm. Photo by Sang Tae Kim. Courtesy the artist and Plateau, Sams

Seoul: Liu Wei

MASUNOBU YOSHIMURA, Cooking, 1967–76, Kitchen microwave and fluorescent tubes, 40 x 52 x 37 cm. Courtesy Tokyo Gallery + BTAP, Tokyo.

Tokyo: Masunobu Yoshimura, Ushio Shinohara, Nobuaki Kojima

Taipei: Yuko Mohri

TAKAO MINAMI, Puppet Study No. 4, 2010, Video projection and program-controlled blind, dimensions variable, Photo by Andrew Stooke for ArtAsiaPacific.

Shanghai: The Shadow Never Lies

LIU DAHONG, Happy Music Mountain, 2012, oil on canvas, 100 x 100 cm. Courtesy the artist and Hanart TZ Gallery, Hong Kong.

Hong Kong: Liu Dahong

TIM SILVER, Untitled (Oneirophrenia) (blue) #2, 2015, Pure white concrete, marble dust and pigment, 38.5 x 24 x 26 cm. Courtesy the artist and Sullivan+Strumpf, Singapore.

Singapore: Arrival

BHUPEN KHAKHAR, Portrait of Shri Shankarbhai V. Patel Near the Red Fort, 1971, oil on canvas, 92 x 92 cm. Courtesy Bhupen Khakhar Estate and National Gallery of Modern Art, New Del

New Delhi: Many Facets of an Artist

ALI CHERRI, Fragments, 2016, Archaeological artifacts, taxidermy bird and light table, dimensions variable. Installation view from the exhibition “A Taxonomy of Fallacies: The Life

Beirut: Ali Cherri

REZA DERAKSHANI, Red Green Hunt, 2015, oil on canvas, 178 x 298 cm. Courtesy the artist and Sophia Contemporary Gallery, London.

St. Petersburg: Reza Derakshani

DINH Q. LÊ, Erasure, 2011, Mixed-media installation: boat wood fragments, rocks, thousands of found photographs, desk and chair, table lamp, computer, scanner, internet connection,

Kolding: When Things Fall Apart – Critical Voices on the Radars

HEMA UPADHYAY, 8’ x 12’, 2009, aluminum, scrap metal from cars, enamel paint, plastic, found objects, M-Seal sealant, resin and hardware, dimensions variable. Photo by Anil Rahe. C

Boston: Megacities Asia

ZHU JINSHI, Wall of Air, 2015, canvas, frame, oil paint and metal rack, ten parts: 250.2 x 201.6 x 7.9 cm each. Eight of ten parts exhibited. Courtesy the artist and Blum & Poe, Lo

Los Angeles: Black

PROVOKE: BETWEEN PROTEST AND PERFORMANCE – PHOTOGRAPHY IN JAPAN 1960/1975, edited by Diane Dufour and Matthew Witkovsky. Published by Steidl Verlag, Göttingen, 2016. Softcover with

BOOK REVIEWS: After Protest