Shows

Installation view of ZHANG YANZI's

Zhang Yanzi’s “A Quest for Healing”

Installation view of SLAVS AND TATARS'

Slavs and Tatars’ “Made in Dschermany”

Installation view of CHITRA GANESH's

Chitra Ganesh’s “The Scorpion Gesture/Face of the Future”

Installation view of *TONY ALBERT*’s “Visible” at Queensland Arts Gallery | Gallery of Modern Art, Brisbane, 2018. Photo by Natasha Harth. Courtesy Queensland Art Gallery | Gallery

Tony Albert’s “Visible”

Installation view of DANIELE GENADRY's

Daniele Genadry’s “Slow Light”

Installation view of *TAP CHAN*'s _Entanglement_ (detail), 2018, wood, sponge sheet, fabric, nylon fiber, dimensions variable, at

“The Day the Gods Stop Laughing”

Installation view of *JOHN MAWURNDJUL*'s

John Mawurndjul’s “I Am the Old and the New”

Installation view of *ZAFFER CHAN*’s “Dreamcatcher” and “Polaris” series, both 2018, at “The Strangeness of Her Narratives,” Rossi & Rossi, Hong Kong, 2018. Photo by Dennis Mao for

“The Strangeness of Her Narratives”

Installation view of *CATHERINE CHRISTER HENNIX*’s _Nur (For Marian Zazeela)_, 2005, generative continuous animation, blue/red, dimensions variable, and _Sonoilluminecences_, 2018,

Catherine Christer Hennix’s “Thresholds of Perception”

Installation view of ZHANG PEILI's The Only Access, 2018, installation with iron bars and automatic doors, dimensions variable, at

“This is Shanghai”

Installation view of *DIANA AL-HADID*'s (foreground) _The Grotto_, 2017–18, aluminum, steel, polymer gypsum, fiberglass, and pigment, 11 x 4.2 x 0.3 m; and (background) _Gradiva_,

Diana al-Hadid’s “Delirious Matter”

*LI BINYUAN*, _Freedom Farming_, 2014, still from single-channel video documentation of performance, sound, color: 5 min 2 sec. Courtesy the artist.

Zhang Huan and Li Binyuan’s “Land”

Installation view of *LUO YING*'s

Luo Ying’s “Layered Hills”

Installation view of THE DJAYA BROTHERS'

“Revolusi in the Stedelijk”