Issue

SHIGERU BAN, Paper Log House, 1999, site-specific house, cardboard tubes, beer crates.

Cities on the Move: A dialogue between curators and artists

HONG HAO, Beijing No. 2,1998, colour photograph, dimensions unknown;

Discourse and Displacement: Contemplating Beijing's urban landscape

KATSUYA KOMAGATA, above: Catching a Mermaid, 1998, oil on linen, 146.05 x 102.87 cm, courtesy Taka Ishii Gallery, Santa Monica, below: Dance of the Passion Flower, 1996, paper, gla

Katsuya Komagata

MATHIAS KAUAGE, Civil War in Bougainville, 1999, acrylic on canvas, 120.5 x 183.5 cnn, courtesy Ray Hughes Gallery, Sydney.

Mathias Kauage

SOONJA OH KIM, Two Figures - H&W, 1998, aluminium, muriatic acid, ink, 177.8 x 116.84 x 10.16 cm, courtesy Boritzer/Gray/Hamano Gallery, Santa Monica.

Soonja Oh Kim: Figuration

VINOD DAVE, The Divine Witness, 1998, mixed media, 173 x 150 cm, courtesy Bose Pacia Modern, New York.

Vinod Dave: Reflections on Indian Popular Culture

ANJU DODIYA, Triumph of the Erasers, 1998, watercolour, 76.2 x 55.8 cm.

Anju Dodiya

WANG XINGWEI, God, Art, Cigarettes, 1997, industrial paint on canvas. Photograph John Ryan.

Going underground: The Corruptionists

ZHANG PEILI, Eating, 1997, video installation, The Museum of Modern Art, New York.

Zhang Peili: Eating

LI YONGBIN, Face I, 1995-97, video installation.

Outside the Real: A New Form of Video Art in China

A Response from Singapore Art Museum

TATSUO MIYAJIMA, Mega Death, 1999, light-emitting diodes, dimensions variable. Photograph Toshio Shimizu.

A Question of Balance: Japan and Korea at the 48th Venice Biennale

HUANG YONGPING, One Man, Nine Animals, 1999, aluminium-cast wood sculptures, dimensions variable.

Open and everywhere: Chinese artists at the Venice Biennale

David Neel on the Grand Canal with the Keeper of the Animals mask.

Different Totems: David Neel on the Grand Canal