Issue

Up Next: 2026

Up Next: 2026
IMELDA CAJIPE ENDAYA, Buhay ay Vodavil Komiks (Life is a Vaudeville Comic Book), 1981, oil and collage on canvas, 121 × 90 cm. Collection of the National Gallery Singapore. Courtesy the artist.

Fear No Power: Women Imagining Otherwise
National Gallery Singapore
Jan 9–Nov 15, 2026

The exhibition spotlights five prominent Southeast Asian artists— Nirmala Dutt, Imelda Cajipe Endaya, Amanda Heng, Dolorosa Sinaga, and Phaptawan Suwannakudt—whose practices intertwine art, life, and community. Spanning the 1960s to the 2010s, their works engage with decolonization, Cold War tensions, and complex social change while tracing their own lived terrains.

Still image from BASEL ABBAS and RUANNE ABOU-RAHME’s Prisoners of Love, 2025. Courtesy the artists.

Basel Abbas and Ruanne Abou-Rahme
Museum of Contemporary Art Barcelona
Feb 13–Jun 28, 2026

Based between New York and Ramallah, Palestinian artist duo Basel Abbas and Ruanne Abou-Rahme explores collective resilience in the face of oppression and dispossession through image, text, sound, and performance. Their first exhibition in Spain features earlier works and a new immersive audiovisual installation developed from songs, poems, and testimonies of prisoners, giving form to their yearning for liberation and their homeland. 

HO TAM, Hibiscus, 1995-96, oil on canvas, 92 × 66 cm. Courtesy the artist and Art Sonje, Seoul.

Spectrosynthesis
Art Sonje Center
Seoul
Mar 20–Jun 28, 2026

Co-organized with Hong Kong’s Sunpride Foundation, the fourth edition of “Spectrosynthesis,” an exhibition devoted to contemporary queer art and its histories, will be presented at Art Sonje Center in Seoul. New commissions by Korean and international artists juxtaposed with works from the foundation’s collection trace Korea’s queer exhibition history and the formations of LGBTQ+ communities in Asia.

Installation view of SHILPA GUPTA’s TRUTH, 2022–25, 400 × 1450 × 800 cm. Photo by Ela Bialkowska, OKNOstudio. Courtesy the artist and Galleria Continua, San Gimignano.

Shilpa Gupta 
Hamburger Bahnhof
Berlin
Mar 27, 2026–Jan 3, 2027

Shilpa Gupta often explores the dissemination and suppression of information and emotion, creating installations that engage written, spoken, and sung text as material. At Hamburger Bahnhof, her exhibition foregrounds this linguistic focus to probe the entanglement of language, borders, and power. Her practice is staged in conversation with works by Joseph Beuys, who likewise questioned how art can intervene in social structures.

DUAN JIANYU, A Good Guy, 2017, oil on canvas, 140 × 180 cm. Courtesy the artist and Vitamin Creative Space, Guangzhou/Beijing.

Duan Jianyu
UCCA Center for Contemporary Art
Beijing
May 1–Aug 30, 2026

In Duan Jianyu’s artistic universe, wry humor and a quietly hopeful optimism filter through dense constellations of cultural references, activating collective memory while destabilizing underlying ideologies. This midcareer survey assembles several major bodies of work from the past decade, including Sharp, Sharp, Smart (2014–16), a series that signaled a pivotal shift in both her painterly vocabulary and conceptual concerns. 

Screening of ELLEN PAU’s The Shape of Light, 2022, on the M+ Facade, Hong Kong, 2022. Photo by Lok Cheng. Courtesy the artist and M+.

Ellen Pau 
She Moves
SculptureCenter
New York
May 28–Aug 17, 2026

A trained diagnostic radiographer, Ellen Pau adapts medical and machine-based imaging into experimental video works that explore questions of gender, technology, and Hong Kong’s sociopolitical landscape. Her first US survey showcases key sculptures and video installations from the late 1980s to the present. Some landmark works are reconfigured to reflect the changing realities of Hong Kong public life.

Installation view of MIRE LEE’s Look, I’m a fountain of filth raving mad with love, 2022, at ZOLLAMT MMK, Frankfurt. Photo by Frank Sperling. Courtesy the artist and Secession, Vienna.

Mire Lee
Secession
Vienna 
Jun 12–Aug 30, 2026

Mire Lee’s kinetic sculptural installations extend her ongoing inquiry of the body’s interior as a volatile environment, using motors, tubes, synthetic skins, and other substances to evoke quasi-organic systems. Their strained motions heighten viewers’ sense of flesh and fragility, drawing them into uneasy spaces where desire, anxiety, and dependence on machinery converge.

AMAR KANWAR, Such a Morning, 2017, still image of digital video, 4K, color, sound: 85 min. Courtesy the artist and Marian Goodman Gallery, New York/Paris/Los Angeles.

Amar Kanwar
Serpentine Galleries
London 
Sep 23, 2026–Jan, 2027

A longstanding collaborator with Serpentine Gallery, Indian artist and filmmaker Amar Kanwar creates lyrical films that move between documentary, travelogue, and visual essay to probe the social and political conditions of the Indian subcontinent. His upcoming exhibition threads together older and recent works, mining the legacies of partition, decolonization, and state repression.

MARIKO MORI, Tom Na H-iu, 2006, glass, stainless steel, LED, and real time control system, 327.4 × 115.3 × 39.6 cm. Photo by Richard Learoyd. Courtesy the Mori Art Museum, Tokyo.

Mariko Mori
Mori Art Museum
Tokyo 
Oct 31, 2026–Mar 28, 2027

Since the 1990s, Mariko Mori has forged a distinctive fusion of futurist aesthetics, advanced technology, and ancient spiritual cosmologies, often drawing on Japanese myth and Buddhism. This major retrospective, her first exhibition in Japan since 2002, presents 80 works—interactive installations, videos, sculptures, photography, and archival materials—charting three decades of practice.