Shows

*AIKO TEZUKA*, _Certainty / Entropy (Peranakan 1)_, 2014, fabric, 25 m. Photo by Edward Hendricks. Courtesy Third Floor - Hermes, Singapore.

Aiko Tezuka’s “Certainty / Entropy”

Installation view of

Inga Svala Thorsdottir & Wu Shanzhuan’s “The Printer/The Paper/The Layer/The Thing’s Right(s)/The Little Fat Flesh”

Ink Art Makes a Splash at the Met

<b>JIHA MOON</b>, Sarah, 2013, ceramic and mixed media, 86.4 x 25.4 x 2.5 cm. Courtesy Ryan Lee Gallery, New York.

Jiha Moon’s “Foreign Love Too”

<b>SONG-MING ANG</b>, <i>Backwards Bach (still)</i>, 2013, two-channel video. Courtesy the artist and FOST Gallery, Singapore.

Song-Ming Ang’s “Logical Progressions”

_Target Queen_ (2014) is a mural installation featuring enlarged bindis on the museum’s exterior wall. Usually obscured, the wall was exposed when the adjacent building was demol

Bharti Kher’s “Misdemeanours”

<b>ERIKA VERZUTTI</b>,<i> Swan with Hammer</i>, 2013, bronze and sledgehammer, 65 x 70 x 70 cm. Photo by Eduardo Ortega Studio. Courtesy of the artist and Galeria Fortes Vilaça, Sã

Carnegie International 2013

<b>MIRANDA PARKES</b>, installation of <i>Fielder</i> (2013) at SCAPE 7, Christchurch, 2013. Photo by Donna Robertson. Courtesy SCAPE Public Art and Jonathan Smart Gallery, Christc

SCAPE 7: Public Art Christchurch Biennial

<b>TAD ERMITAÑO</b>, <i>Bell</i>, 2011, dimensions variable. Courtesy ADM Gallery, Nanyang Technological University, Singapore.

“Immaterial Frontiers”

Installation view of Taus Makhacheva's

Taus Makhacheva’s “Story Demands to be Continued”

Yoko Ono at the press conference for her first Australian survey show

Yoko Ono’s “War is Over! (If you want it)”

TIFFANY CHUNG, stored in a jar: monsoon, drowning fish, color of water, and the floating world, 2010–2011, Plexiglass, wood veneer, plastic, aluminum, paint, steel cable, foam and

Tiffany Chung’s “The Galapagos Project: on the brink of our master plans” and ”an archeology for future remembrance”

Screen shots of Anthony Marcellini and Heman Chong's Twenty Plots for Things to Come (2013), an interactive website currently on view at Yerba Buena Center for the Arts, San Franci

Heman Chong and Anthony Marcellini’s “Twenty Plots for Things to Come”

ISAMU NOGUCHI, Seated Female Nude: Scroll (Kakemono), 1930, hanging scroll, ink on paper, 297.2 x 129.5 cm. Courtesy The Noguchi Museum, New York.

“Isamu Noguchi and Qi Baishi: Beijing 1930”