These Are the Exhibitions Not to Miss in Hong Kong
Hong Kong’s art landscape has shifted dramatically over the past decade, shaped as much by its rapid evolution as by the pressures it has endured—from prolonged pandemic restrictions to political unrest—since Art Basel’s arrival. While some international galleries have withdrawn, the city itself has cultivated a remarkably vibrant ecosystem of local galleries, anchored by prime-tier institutions and an expanding network across Central and the South Side, alongside a new generation of hybrid, more agile cultural spaces spanning seasonal salons, collectives and private foundations. To help you navigate this year’s particularly dense art week, we’ve put together a selection of must-see exhibitions across the city.
Must-see art in Hong Kong
- Lee Bul’s “From 1998 to Now”
- Trevor Yeung’s “swallowing rumination, gracefully.”
- “Imagine a Dead Blue Whale Inside the Pocket of a Giant”
- “Site-seeing”
- Slav & Tartars’ “胡 ( هو / who) are you?”
- Serakai Studio’s “CERTAINTY”
- Hung Hsien’s “Between Words”
- Zheng Mahler’s “Mushroom Clouds”
- “Amour Aquatique”
- “Live: Hong Kong Art Exhibition”
- Cian Dayrit’s “A Country, a Body”
- Kong Lingnan’s “The Fool’s Journey”
- “Horizons: South”
- El Anatsui’s “MivEvi”
- ART.BERDEEN
Lee Bul’s “From 1998 to Now”
- M+ Museum; through August 9, 2026
Lee Bul has built a practice that is at once formally experimental and politically charged, first gaining notoriety through body-based performances that challenged South Korea’s patriarchal norms before evolving in the 1990s into futuristic sculptures and cyborg forms that fuse eroticism, technology and dystopian critique. Where the show’s first iteration at the Leeum Museum in Seoul unfolded as a theatrically cryptic palimpsest of works from different moments, in Hong Kong, the South Korean artist is presented in a more structured mid-career survey designed to introduce her practice to a broader audience less familiar with its depth. The exhibition at M+ deliberately centers the lexicon she began developing in the 1980s, when her visual language took decisive form, bringing together key cybernetic and futuristic works suspended between technological utopia and dystopia. Organized into three sections, the show opens with an immersive staging of her visionary universe, including the architectural Mon grand récit series (2005-ongoing), before moving into a second chapter dedicated to the groundbreaking Cyborg and Anagram works from the late 1990s and early 2000s. It concludes with a glimpse into the artist’s studio, offering insight into her ongoing, laboratory-like research into new bodies and habitats through drawings, sketches and maquettes.
Trevor Yeung’s “swallowing rumination, gracefully.”
- Blindspot Gallery; through May 30, 2026
You might recall Yeung’s aquatic installation at the Hong Kong Pavilion at the last Venice Biennale. For one of Hong Kong’s strongest art week presentations, Blindspot is staging a new solo exhibition by the artist in which, once again, human-made forced ecosystems serve as a vehicle to expose the disruptive imprint humans leave on the natural cycles of resource exchange. The exhibition returns to the artist’s aquatic world, bringing together Yeung’s latest tanks—mixed-media and light sculptures, photographs and installations composed of rocks and crystals—reflecting his continued attempt to locate moments of harmony and balance within ongoing change. This time, the gallery transforms into a more introspective, sentimental space, with a series of interventions designed to evoke a sense of vulnerability amid a relentless flux that conveys not only impermanence but also the vital, transitory nature of existence. At the heart of the show is an uncanny, palpable sense of absence that reveals the fragile equilibrium characterizing all our relationships with other species. “Eventually, it is all about the fine line between caring and over-controlling,” Yeung told Observer in 2024, referring to the delicate balance necessary to preserve our vulnerable ecosystems, whether among friends, lovers or communities.
“Imagine a Dead Blue Whale Inside the Pocket of a Giant”
- CURRENT PLANS, Remex Center; through May 23, 2026
Current Plans is another young interdisciplinary platform that made the right kind of noise during last year’s Hong Kong Art Week, with a fluid program of exhibitions, performances and raves fully aligned with the experimental energy of Wong Chuk Hang’s post-industrial creative regeneration. Now sharing a building with Serakai Studio’s GOLD, the platform—founded in 2020—returns hosted by Spring Workshop at Remex Centre with a week-long program of cross-disciplinary practices designed to spark exchange and push the boundaries of exhibition-making. At its core is a group exhibition that stages a dialogue between Hong Kong and Italy, reflecting the dual identity of its leadership—Hong Kong native founder Eunice Tsang and visual identity and design head Mario Bobbio. Conceived between two contexts where languages, histories and governing systems diverge, the exhibition proposes play as a subversive, shared alphabet: when speech is mistranslated, restricted or simply fails, artists turn to games, glitches and improvised rules to articulate what cannot be said. Its title is drawn from a work by Roberto Fassone, a poetic installation comprising 90 texts that describe absurd scenarios in an alternative world. In the same ludic spirit from which genuine creativity originates, the show traces intersections between artistic, poetic and ludic practices in their shared capacity to imagine other realities.
“Site-seeing”
- Para Site; through June 4, 2026
Founded in 1996, Para Site was one of the city’s first artist-run spaces and has since played a vital role in fostering and catalyzing the Hong Kong art scene. Over time, its role has evolved into something closer to a hybrid between a think tank and a curatorial platform, championing emerging voices from Hong Kong and across the broader Asia Pacific region while threading these conversations into a global context. For the institution’s 30th anniversary, it announced a new executive director, the dynamic curator James Taylor Foster, whose practice consistently bridges contemporary art, design, architecture and digital culture. To celebrate both its history and its next chapter, Para Site is staging the anniversary exhibition “Site-seeing,” which brings together nine artists and artist groups from the Asia Pacific region and beyond, including Tolia Astakhishvili (b. 1974, Tbilisi), Heman Chong (b. 1977, Muar), Covey Gong (b. 1994, Changsha), Ko Sin Tung (b. 1987, Hong Kong), Nawin Nuthong (b. 1993, Bangkok), Anna Sew Hoy (b. 1976, Auckland), Bo Wang and Lu Pan (based in Amsterdam and Hong Kong), Tianyi Zheng (b. 1995, Wuhan) and Stella Zhong (b. 1993, Shenzhen).
Slav & Tartars’ “胡 ( هو / who) are you?”
- Rossi & Rossi; through May 9, 2026
Landing in Hong Kong in 2011, Rossi & Rossi has become a fixture of the city’s art ecosystem, distinguished by a singular program that stages often unexpected dialogues across centuries, bridging its original expertise in classical Himalayan and Indian art with a more recent embrace of rigorously informed contemporary practices. For Hong Kong Art Week, the gallery put together a show by the Berlin-based duo Slavs and Tatars, known for their irreverent, research-driven practice spanning language, politics and belief systems across Eurasia. In sculptures, books, installations and lecture-performances, their work embraces multilingualism and multiconfessionalism, turning the question “Who are you?” into something fluid, irreverent and open-ended. For more than two decades, the duo has focused on a vast, often overlooked geography—”east of the former Berlin Wall and west of the Great Wall of China”—using it as both subject and strategy to resist reductive notions of identity. Their first solo exhibition in Hong Kong, “胡 (هو / who) are you?” brings together works across media that revolve around questions of being and belonging, playing with linguistics and other systems of cultural signification that shape them.
Serakai Studio’s “CERTAINTY”
- GOLD, through May 3, 2026
A new entry this season in the vibrant and rapidly expanding Wong Chuk Hang art district is GOLD, Serakai Studio’s first fluidly multidisciplinary salon, conceived as a catalyst for artistic experimentation in Hong Kong. Curated by Tobias Berger, co-founder and curatorial director of Serakai Studio and former Tai Kwun director, its inaugural exhibition “CERTAINLY” already articulates the space’s ethos, bringing together a diverse group of artists whose practices across media respond, directly and obliquely, to the condition of uncertainty that defines our time. The exhibition draws on artist-composer La Monte Young’s seminal 1960 instructional work Composition 1960 #10, a score consisting of a single directive: “Draw a straight line and follow it.” What initially appears simple and straightforward gradually reveals itself as far more complex—the line wavers, resists and deviates, becoming a metaphor for creativity, decision-making and the unpredictable forces that shape us. It is precisely within that space between script and intuition, between control and freedom, planning and improvisation, that artistic creation can flourish.
Hung Hsien’s “Between Words”
- Asia Society, through June 21, 2026
This long-overdue retrospective, curated by Dr. Tiffany Wai-Ying Beres with Dr. Einor Cervone, Dr. Owen Duffy, and Dr. B Li.and co-produced by the Asia Society in Houston (where it debuted) and Asia Society Hong Kong, brings into focus for the first time how Hung Hsien pioneered a reinvention of traditional Chinese ink, developing a luminous visual language capable of evoking the invisible. Drawing on the natural and energetic flow of all things, her abstractions move toward a cosmological and, at times, transcendental register. One of the most quietly innovative ink painters of the 20th Century, the now 92-year-old artist has sustained a practice defined by constant oscillation—between East and
West, between the visible and the felt. After training in traditional ink painting under the scholar-painter Prince Pu Ru, she became one of the few women to exhibit with Taiwan’s avant-garde Fifth Moon Group, which sought to modernize ink through a synthesis of Eastern and Western approaches. Her move to the U.S. in the mid-1960s exposed her to the expressive freedoms of postwar abstraction, yet her work remained anchored in a deep spiritual and philosophical grounding inherited from the East. It is precisely this dual inheritance that enabled her to push abstraction toward increasingly evocative, almost mystical dimensions—approaching the invisible, gesturing toward the not-yet-visible and engaging with the enduring mysteries of the universe.
Zheng Mahler’s “Mushroom Clouds”
- PHD Group; through May 2026
Founded in 2021, PhD Group has quickly established itself not only as one of the most experimental and curatorially driven galleries in Hong Kong but also as a catalyst for alternative platforms that connect the city with the international art world. Its founders, Ysabelle Cheung and Willem Molesworth, were also behind Supper Club, which has since evolved into the full-fair Salon PAVILION at H Queen’s. In a once-secret club, the gallery stages museum-grade exhibitions featuring immersive environments and ambitious installations—the current offering is a solo presentation by Zheng Mahler, who has constructed a large-scale, living terrarium simulating the biodiverse ecosystems of Lantau Island, complete with plants and fungi. The installation is the result of months of extensive research conducted on their home island of Lantau, where Zheng Mahler investigated 38 distinct mushroom species to better understand their life cycles and modes of existence. At its core is an attempt to attune to and comprehend other forms of intelligence, drawing a parallel between the rhizomatic, seemingly infinitely generative nature of fungi and emergent A.I. systems. In the gallery, now transformed into a terrarium, a dense cloud of fog periodically forms in response to calibrated systems of water, heat and growth while projections of A.I.-hallucinated mushrooms emerge, creating a ghostly apparition of Lantau’s fungal life.
“Amour Aquatique”
- Podium; through May 30, 2026
In the short time since its 2024 opening, PODIUM has quickly gained momentum through tightly curated, research-driven exhibitions that bring together emerging voices across geographies and disciplines, often united by a shared interest in posthuman and interspecies imaginaries. For art week, the gallery is presenting “Amour Aquatique,” an ambitious group show that uses water as both material and metaphor to explore the fluid dynamics of love, grief, nostalgia and memory. Drawing viewers into the ebb and flow of aquatic affect—at once universal and deeply intimate—the show brings together works by five artists: Fran Chang, Omyo Cho, Soyoung Chung, Minouk Lim and Luis Xertu. Across the exhibition, water becomes a structuring force, evoked through cycles of looping, evaporating, pooling, eroding and flowing, as the artists navigate liminal spaces where the personal and the political dissolve into one another, forming new symbiotic entanglements.
“Live: Hong Kong Art Exhibition”
- Hong Kong Museum of Art; Ongoing
The Hong Kong Museum of Art has put together a wide-ranging survey of artists working in the city today whose practices reflect Hong Kong’s singular position at the intersection of Chinese traditions and Western influences. Structured around four themes—”Urban Stage,” “Landscape Reimagined,” “Virtual Reality” and “Transformation”—the exhibition brings together the work of 19 artists actively shaping the city’s contemporary landscape across a broad, sometimes experimental spectrum of media and artistic languages. The roster spans both established and emerging figures, including Chu Hing-wah, Angela Yuen, Inkgo Lam, Ross Yau, Hung Keung, Leung Mee-ping, Joseph Chan, Chan Wai-lap, Chan Kwan-lok, Jess Leung, Raymond Fung, Wong Hau-kwei, anothermountainman (Wong Ping-pui, Stanley), Wong Chung-yu, Wong Chun-hei, Wong Lai-ching, Fiona, Hung Hoi, Hung Fai and Law Yuk-mui. Notably, the exhibition offers a rare glimpse into each artist’s working process. On the ground floor, the museum is presenting a series of miniature studio environments alongside the video program “Studio and Beyond,” in which artists guide viewers through their own spaces, using the studio as a lens onto Hong Kong’s unique artistic ecology. In a first for the institution, the museum has also invited artists to create work on-site, transforming part of the gallery into an open studio where audiences can step behind the scenes and engage directly with the process.
Cian Dayrit’s “A Country, a Body”
- Cheng Lan Foundation; through May 17, 2026
The Chen Lang Foundation’s new space at Prince’s Terrace in Hong Kong’s Mid-Levels is debuting with an inaugural solo presentation by Filipino artist Cian Dayrit, whose latest work draws on archival research and collaborations with rural and Indigenous communities to explore the country’s legacies of colonialism, land extraction and the transfer of power. His first exhibition in Hong Kong, the presentation spans textiles, paintings and sculpture, and often incorporates historical maps, military iconography, botanical imagery and vernacular materials to unearth histories of displacement, labor and resistance, while opening imaginative spaces to rethink our relationship to land and systems of power. Founded in 2023 by patron and art collector Chen Lang, the Chen Lang Foundation operates at the intersection of private collecting and public engagement, supporting artists from the global majority and diaspora communities. Conceived as an addition to the neighborhood’s cultural fabric, the new space establishes a physical outpost from which the foundation can test its mission in dialogue with the city’s evolving art landscape.
Kong Lingnan’s “The Fool’s Journey”
- Capsule (HK Pop up) at Suite 2501, 25/F, Landmark South; through April 12, 2026
For the second year, Shanghai-based gallery Capsule is hosting a pop-up show during art week, taking over a suite in Wong Chuk Hang’s Landmark Southside building to mount a solo exhibition by Chinese painter Kong Lingnan, marking her debut in the city. With 22 oil paintings on wood, the presentation is defined by a metaphysical sense of suspended time and space, where archetypal forms seem to surface from the depths of the collective subconscious. Titled “The Fool’s Journey,” the exhibition takes its structure from the 22 Major Arcana of the Tarot, with each work offering a metaphorical reimagining of the path of spiritual development—from ignorance to awareness, from chaos to fulfillment. Through her refined handling of the sensuous materiality of oil paint, Kong Lingnan engages in an abstract exploration of the elusive and the unseen, constructing luminous, almost mystical images that point to the universality of symbolic forms and the sensations they activate in the viewer.
“Horizons: South”
- Antenna Space; through May 10, 2026
In more than a decade of activity, Antenna Space has established itself as one of the most dynamic and respected galleries in China, playing a key role in anchoring Shanghai’s contemporary art ecosystem while sustaining an ongoing dialogue with the international art world. Its expansion to Hong Kong—once again underscoring the city’s function as a critical conduit between the mainland and global circuits—takes shape in a new space on the 19th floor of the Leader Centre in Wong Chuk Hang, conceived as both a “listening post” and a “broadcast point” tuned to the frequencies shaping contemporary art in the region. The inaugural exhibition “Horizon: South” is curated by former Taipei Dangdai director Robin Peckham, recently appointed director of the forthcoming JD Museum in Shenzhen. As Peckham notes in his curatorial essay, amid today’s global uncertainty, the exhibition proposes itself as “a gesture of hope within the infinite void, an antenna extended without expectation,” allowing “Horizon: South” to unfold as a meditation on finitude. Spanning two rooms, the show brings together a wide-ranging roster of artists from across Asia and its diasporas—including Allison Katz, Mire Lee, Shuang Li, Nancy Lupo and Stella Zhong—mapping a set of positions that resonate across geographies, conditions and temporalities.
El Anatsui’s “MivEvi”
- White Cube; through May 9, 2026
A complex entanglement has drawn China and Africa increasingly closer in recent years—economically, politically and culturally. Beyond geopolitics, both geographies share a deep reverence for ancestral forms of making and a material intelligence that can elevate even the most modest elements into something singular and precious, a sensibility that resonates powerfully within contemporary art. White Cube has dedicated a prime slot in its Hong Kong program to a solo exhibition by Ghanaian artist El Anatsui, featuring his signature large-scale wall works composed of thousands of flattened bottle caps and metal fragments, meticulously stitched together with copper wire. Through this process, Anatsui transforms discarded industrial and consumer materials—often sourced from liquor bottles—into monumental, textile-like forms that reflect on histories of trade, consumption and colonial exchange, particularly in relation to West Africa. The exhibition arrives amid renewed institutional attention for the artist across Asia, following the major presentation “After the Red Moon” at the Museum of Art Pudong in Shanghai in 2024.
ART.BERDEEN
- Aberdeen Street, Central; through March 28, 2026.
As Hong Kong’s artistic and creative community grapples with accelerating gentrification, a new wave of independent initiatives is emerging to reconnect voices across shared neighborhoods. ART.BERDEEN’s contribution to art week brings together artists, musicians and designers across a network of galleries and venues along Aberdeen Street, activating the area through a multi-layered program that moves fluidly between disciplines. The goal is to foster meaningful dialogue and connection through contemporary art and social engagement, with a lineup spanning exhibitions, music events paired with bespoke food and beverage experiences. Co-founded by a multidisciplinary trio—Henry from The Uncommon, Nathan of Y2K and Elvina from Something Easy—it’s both a cultural connector and a catalyst, weaving together local and international artists across multiple venues to create a distributed, neighborhood-scale exhibition that feels as much lived as curated.