Imported

ALI CHERRI, Fragments, 2016, Archaeological artifacts, taxidermy bird and light table, dimensions variable. Installation view from the exhibition “A Taxonomy of Fallacies: The Life

A Taxonomy of Fallacies: The Life of Dead Objects

DINH Q. LÊ, Erasure, 2011, Mixed-media installation: boat wood fragments, rocks, thousands of found photographs, desk and chair, table lamp, computer, scanner, internet connection,

When Things Fall apart - Critical Voices on the Radars

Installation view of ADRIAN WONG and SHANE ASPEGREN’s “Cromniomancy” at Rossi & Rossi Hong Kong, 2016.

Cromniomancy

YAO LU, Wine Boat on Pine Creek, 2012, Epson ultra giclee, 137 × 97 cm. Courtesy University Museum and Art Gallery, The University of Hong Kong.

Spanning Time: Revisiting the Aesthetics of the Northern Song Dynasty through

*JOMPET KUSWIDANANTO*, _After Voices_, 2016, resin/latex hands, costumes, motorcycle parts, motorcycle helmets, shoes, electronics, flags, speakers, drums, video and sound, dimensi

After Voices

Installation view of YUAN GONG's

The Shape of Scent

NASTARAN SHAHBAZI, Tainted Love, 2016, oil on canvas, 58 x 58 cm. Courtesy the artist and Mur Nomade, Hong Kong.

The Sun Also Rises

Installation view of

Connect 4

EASON TSANG KA WAI, New Landmark No.1, 2014, digital inkjet print, 73.5 x 81.3 cm. Courtesy the artist and Blindspot Gallery, Hong Kong.

Powerless

Installation view of

Annals of Floating Island

Installation view of RANA BEGUM's exhibition

The Space Between

AISHA KHALID, Comforter, 2008, quilt and needles, 190 x 265 x 12 cm. Courtesy Gallery Isabelle van den Eynde, Dubai.

Domestic Affairs

Installation view of HUGO YEUNG MING-HIM's exhibition “What Death Tells Me; Cinema as Computation, Aurality, Vision” at Floating Projects Collective, Hong Kong, 2016. Courtesy the

What Death Tells Me; Cinema as Computation, Aurality, Vision

CHRISTINE AY TJOE, Greed and Greed 2, 2016, oil on canvas, diptych: 200 x 340 cm. Copyright the artist. Courtesy White Cube, London.

Christine Ay Tjoe