Shows

Installation view of LEE KAI-CHUNG's The Order of Things (Casting Bidders) (2017), for the exhibition

Looking at the “Other Sides of Evidence”

EIKOH HOSOE, Ordeal by Roses #15, 1961, gelatin silver print. Copyright the artist. Courtesy Sainsbury Centre for Visual Arts, Norwich.

“Masters of Japanese Photography”

PARK SEO-BO, Ecriture No. 870907, 1987, mixed media with Korean Hanji paper on canvas, 200 x 330 cm. Copyright the artist. Courtesy White Cube, London.

Park Seo-Bo’s “Zigzag: Ecriture 1983–1992”

Installation view of VERNON AH KEE's “Not An Animal or a Plant” at National Art School Gallery, Sydney, 2017. Courtesy National Art School Gallery.

Vernon Ah Kee’s “Not An Animal or a Plant”

PICHAI PONGSASAOVAPARK, Drought 7, 2016, media-digital photography print on Epson Enhanced matte paper, technic-giclee print, 46 x 69 cm. Courtesy Subhashok the Arts Centre, Bangko

Pichai Pongsasaovapark’s “Looking and Seeing”

CHUN KAI QUN, Component 1: Die Forever, 2016, mixed media diorama composed within a one-way mirror boxed frame, 67.5 x 48 x 21.5 cm. Courtesy the artist and Fost Gallery, Singapore

Chun Kai Qun’s “Solid Prayers”

HANS-HENNING KORB, Artischocken Kosha, 2016, Oculus Rift VR headset, Lenovo Y900 PC, VR simulation, CNC-milled foam, fiberglass, pigmented silicon, cooked artichoke, plastic stool

Hans-Henning Korb’s “Kaya Cynara”

Installation view of YORK CHANG's

York Chang’s “Zero Sum Games”

Installation view of “Nude: Art from the Tate Collection” at Art Gallery of New South Wales (AGNSW), Sydney, 2016–17. Photo by Jacquie Manning. Courtesy AGNSW.

“Nude: Art from the Tate Collection” Comes to Sydney

CHENG TING TING, As If Lying Under the Sun, 2017, carbon transfer on cotton, dimension variable. Courtesy the artist and Gallery Exit, Hong Kong.

Cheng Ting Ting’s “Fall In Fall Out”

Installation view of

“The World Precedes the Eye”

Installation view of “In Perspective: Lin Yan, Song Xin and Cui Fei” at Chambers Fine Art, New York, 2017. Courtesy Chambers Fine Art.

Lin Yan, Song Xin and Cui Fei: “In Perspective”

ZHANG DALI, Chinese Offspring (detail), 2005, FRP, acrylic and car paint, dimensions variable. Courtesy the artist and White Rabbit Collection.

“Vile Bodies” at White Rabbit

SOPHEAP PICH, Monument 3, 2016, rattan, copper wire, Pusat yellow sandstone, wood and India ink, 183 x 39 x 98 cm. Courtesy the artist and H Gallery, Bangkok.

Sopheap Pich’s “Elemental”