Shows

Installation view of *HEIDI HOWARD*'s and *LIZ PHILLIPS*'s _Relative Fields in a Garden_, 2018, site-specific installation, acrylic paint, ceramic, bamboo, birch veneer, mirror fil

Queens International 2018: Volumes

The Women's Wealth (2018) project, co-curated with Sana Balai, was developed from a week-long workshop in Bougainville and highlights the art forms—woven mats, baskets and bags—cre

Atrophying Models: The 9th Asia Pacific Triennial of Contemporary Art

Installation view of NALINI MALANI's Mother India: Transactions in the Construction of Pain, 2005, five-channel video with color and sound: 5 mins, dimensions variable, at

“Fearless: Contemporary South Asian Art”

Installation view of YUN HYONG-KEUN‘s (left) _Burnt Umber & Ultramarine_, 1987, oil on linen, 210 × 292 cm, and (right) _Burnt Umber & Ultramarine Blue_, 1999, oil on linen, 182 x

Yun Hyong-Keun at MMCA Seoul

Installation view of NAVINE G. KHAN-DOSSOS's Scenes from a Pre-Crime (Performance for Security Guards), 2018, mural painting, dimensions variable, at

“The Universe Flickers” at SALT Beyoğlu

Installation view of *TAKESADA MATSUTANI*'s _Blown Up-15_, 2015, graphite pencil and acrylic on canvas and ball, 213 x 500 cm, at

Takesada Matsutani’s “Drop in Time”

Installation view of *TAKASHI MURAKAMI*'s

“Takashi Murakami in Wonderland”

Installation view of *TIFFANY JAEYEON SHIN*'s

Tiffany Jaeyeon Shin’s “Universal Skin Salvation”

From the monorail going up to the Cheorwon Peace Observatory, a South Korean reservoir is visible in front of the DMZ with the mountains of North Korea in the distance. All photos

Real DMZ Project 2018: “Borders as Specters”

Installation view of *HANNAH BRONTË*'s _Futcha Ancient_, 2018, lightboxes, photographic prints, textiles, ink, shell, dimensions variable, at

“The Commute”

Installation view of *BEHJAT SADR*'s

Behjat Sadr’s “Dusted Waters”

Installation view of SU XIAOBAI's _Jing Yang_ (left), 2017, oil, lacquer, linen, emulsion and wood, 163 x 155 x 19 cm, and _Dappled Stars_ (right), 2018, oil, lacquer, linen, emuls

Su Xiaobai’s “And There’s Nothing I Can Do”

In the lobby of the Seoul Museum of Art were SANGDON KIM’s ship-like sculptures with handwritten sails, Without the Sea (2018). All photos by HG Masters for ArtAsiaPacific.

Seoul Mediacity Biennale 2018: “Good Life (eu zên)”

Installation view of KYZYL TRACTOR ART COLLECTIVE's

“Focus Kazakhstan - Thinking Collections: Telling Tales”