Issue

Detailed installation view of <b>SAEBORG</b>'s <i>Slaughterhouse</i>, 2021-22, latex, vinyl, synthetic polymer paint, and sound, dimensions variable, at

Sydney: Ultra Unreal

<b>THAO NGUYEN PHAN</b>'s <i>Portrait of March,</i> from the series <i>Dream of March and August</i>, 2019, watercolors on silk, 30 x 40 cm. Courtesy the artist and Sharjah Art Fou

Taking a Break

<b>KAZUNA TAGUCHI</b>, <i>the eyes of eurydice #26</i>, 2020, gelatin silver print, 14.7 x 10.7 cm. Courtesy the artist and Fondation d'entreprise Hermes, Tokyo.

Tokyo: Kazuna Taguchi

Installation view of <b>TSUYOSHI MAEKAWA</b>'s <i>Mannaka Tate no Blue</i> <i>(A18)</i>, 1964, oil and burlap on canvas, 162.5 x 130.5 cm, at

Hong Kong: Tsuyoshi Maekawa

<b>ARLONZIA PETTWAY</b>, <i>Chinese Coins</i>, 1965-76, corduroy, denim, and cotton twill, 223.5 x 185.4 cm. Courtesy the Museum of Fine Arts, Houston.

One on One: Gee’s Bend Quilters

Installaion view of <b>BANG NHAT LINH</b>'s <i>The Vacant Chair</i>, 2013-15, mixed-media installation, dimensions variable, at

Ho Chi Minh City: Illuminated Curiosities

Installation view of <b>ISAAC CHONG WAI</b>'s <i>Crying Streetlight in Tiananmen Square</i>, 2022, metal and cable chains, 310 x 200 x 200 cm, at

Istanbul: Isaac Chong Wai

Detailed installation view of <b>MIRE LEE</b>'s <i>Look, I'm a fountain of filth raving mad with love</i>, 2022, mixed-media installation, dimensions variable, at the Museum fur Mo

Frankfurt: Mire Lee

Installation view of <b>HIRAKI SAWA</b>'s

London: Hiraki Sawa

<b>JOEUN KIM AATCHIM</b>, <i>A Study for the Fish DInner (The Original Memory Game after al di la),</i> 2019-22, mineral pigment and refined pine-soot ink on silk mounted on alumin

New York: Joeun Kim Aatchim

<b>CARLOS VILLA</b>, <i>Painted Cloak</i> (verso), 1971, acrylic paint on canvas with taffeta lining and feathers, 185.4 x 315 x 61cm. Courtesy the Asian Art Museum, San Francisco.

San Francisco: Carlos Villa

Installation view of <b>CHRISTOPHER K. HO</b>'s <i>CX 889</i>, 2022, site-specific installation, dimensions variable, at Vancouver Art Gallery Offsite, 2022. Photo by Scott Little.

Vancouver: Christopher K. Ho

<b>MUVINDU BINOY</b>, <i>Long Live the Innocent II</i>, 2022, giclee print on archival photo paper, 71 x 114.3 cm. Courtesy the artist and Saskia Fernando Gallery, Colombo.

Dispatch: Colombo

Portrait of <b>ABBAS ZAHEDI</b>. Photo by Balint Alovitz and That's So CSM. Courtesy Frieze.

News Roundup 130: Controversy, Career Moves, Public Domain