Issue

144 Previews

144 Previews
FIONA TAN, Self-portrait with mask, 2025. Courtesy the artist and Frith Street Gallery, London.

Jul 4–Sep 14
Fiona Tan
Monomania
Rijksmuseum, Amsterdam

Fiona Tan’s “Monomania” at the Rijksmuseum in Amsterdam delves into the recesses of the human mind, exploring the conception of mental illness in 19th-century psychiatry. Curated by the artist herself, the exhibition unveils works from the institution’s depot—including drawings, photographs, paintings, masks, and other historical artifacts—alongside prints by Francisco Goya and Edvard Munch, and loans like Théodore Géricault’s haunting oil-on-canvas, Portrait of a Kleptomaniac (ca. 1820–24). Complementing this roundup is Tan’s own work, such as Janine’s Room (2025), a large-scale, immersive video installation that probes themes of memory as well as the tenuous relationship between perception and reality.

Janet Dawson, The origin of the Milky Way, 1964, oil on canvas, 165 × 197 cm. Courtesy the National Gallery of Australia, Canberra.

Jul 19–Jan 18, 2026
Janet Dawson
Far Away, So Close
Art Gallery of New South Wales, Sydney

A pioneer of abstract painting in Australia during the 1960s, Janet Dawson is known for challenging the rules of artistic convention, often infusing her nonrepresentational works with elements of realism. Her first major retrospective at the Art Gallery of New South Wales, titled “Far Away, So Close,” showcases more than 80 canvases from the last six decades of her career—including early, colorful abstractions like The origin of the Milky Way (1964) and more naturalistic landscape paintings like Bellarine dusk (2016–18) that reflect Dawson’s ongoing interest in capturing the material world. 

Installation view of ZHENG GUOGU’s The Contemporary Body of Writing, 2022–25, calligraphy on linen, tea leaves, blackboard, xuan paper, ink, lighting, dimensions variable. Courtesy the Sea World Culture and Arts Center, Shenzhen.

Jul 25–Oct 26
Zheng Guogu/Yangjiang Group
Body beyond the Rules
Sea World Culture and Arts Center, Shenzhen 

Zheng Guogu/Yangjiang Group’s “Body beyond the Rules” at Sea World Culture and Arts Center reexamines their three-decade-long artistic practice specifically through the lens of the body. Since the 1990s, their work has consistently explored the radical transformation of corporeal imagery within various sociocultural milieus. From photography to calligraphy and installation, the exhibition surveys their multimedia oeuvre, which reimagines and reconstructs the body across different temporalities. Along with large-scale, site-specific installations and a series of new calligraphic works, the show delivers a timely and evolving meditation on the “contemporary body.”

PIXY LIAO, Massage Time (tribute to my favorite album cover), 2015, pigmented inkjet print, 76 × 102 cm. Courtesy the artist.

Jul 26–Dec 8
Pixy Liao
Relationship Material
The Art Institute of Chicago

For her first-ever exhibition in Chicago, titled “Relationship Material,” Pixy Liao presents approximately 45 works from her ongoing photographic series Experimental Relationship (2007– ). A collaboration between Liao and her long-time partner, Japanese artist and musician Takahiro Morooka, the project features various staged self-portraits by the couple, chronicling the evolution of their artistic and romantic connection. At once playful and intimate, the images draw on art history, film, music, and pop culture to investigate the conservative gender expectations in a relationship, as well as the underlying power dynamics between artist and muse.

AKI SASAMOTO, Point Reflection, 2023, still image of single-channel video, color: 23 min 29 sec. Courtesy the artist and Take Ninagawa, Tokyo.

Aug 23–Nov 24
Aki Sasamoto
Life Laboratory
Museum of Contemporary Art Tokyo

The Museum of Contemporary Art Tokyo presents “Life Laboratory,” the first midcareer survey of Japanese artist Aki Sasamoto. Known for her improvised performances staged within scenographic installations of sculptures, found objects, and everyday appliances, Sasamoto often draws on mathematical theory and pop psychology to explore the absurdity of modern-day existence. Along with seminal earlier works, the exhibition highlights her recent experimentations with kineticism, underlining the hybrid and ever-evolving nature of Sasamoto’s two-decade-long practice.

BAGUS PANDEGA next to L.O.O.P. under production at his studio. Photo by Maruto Ardi. Courtesy the artist and ROH Projects, Jakarta.

Aug 29–Nov 16
Bagus Pandega
Kunsthalle Basel

With his multisensory sculptures and installations, artist Bagus Pandega probes the relationship between technology and the natural world—in particular, how rampant industrialization and unstable economic cycles continue to damage Indonesia’s environment. His first institutional solo exhibition in Europe presents new works centered on the ecological ramifications of nickel mining on Halmahera—one of Indonesia’s largest islands—through the interplay of sound, light, movement, plants, and chemical components that engage directly with
their surroundings.