Hong Kong art exhibitions and cultural events

The mission of the Art Promotion Office is to 'bridge communities and art, and blend art into everyday life'. For the current event, we have incorporated artistic elements into the new Treasury Building in Cheung Sha Wan to connect with residents through art, bringing art and culture into the local community to enrich our lives. In collaboration with the Intangible Cultural Heritage Office, we feature works of local illustrator, Stella So, in the Treasury Building. With a fun and light-hearted approach, we introduce four items on the Representative List of the Intangible Cultural Heritage of Hong Kong to the public: the 'Hong Kong Cheongsam Making Technique', the 'Hong Kong-style Milk Tea Making Technique', 'Herbal Tea', and 'The Arts of the Guqin (the Craft of Qin Making)'. Exhibition period: 1.6.2024 – 24.10.2026 Venue: 1/F Lobby, Treasury Building, 3 Tonkin Street West, Cheung Sha Wan, Kowloon, Hong Kong Opening hours: Mondays to Fridays: 7am - 7pm Saturdays: 7am - 1pm Closed on Sundays and Public Holidays Free admission

“The Art Plaza Project” exhibition marks the Museum’s first outdoor public art exhibition initiative, designed to enrich the Museum's offerings and spatial experience by integrating art into public environments spaces, thereby elevating enhancing the visitor experience. Themed by the traditional Chinese garden aesthetics, the exhibition features six sculptures and multimedia installations created by six cross-disciplinary Hong Kong artists and architect, presenting poetic and zen-style landscapes through a contemporary lens. Disclaimer: None of The Hong Kong Jockey Club Charities Trust, The Hong Kong Jockey Club, their respective affiliates or any other person involved in or related to the compilation of the contents herein (collectively, “the HKJC Parties”) makes any express or implied warranties or representations with respect to the accuracy, timeliness or completeness of the contents or as to the results that may be obtained by the use thereof. In no event shall any HKJC Party have any liability of any kind to any person or entity arising from or related to any actions taken or not taken as a result of any of the contents herein.

The horse, associated with resilience, vigour, loyalty, and nobility, has long been a favourite subject of Chinese painters. By the Tang dynasty (618–907), horse painting was a distinct genre. The introduction of European knowledge and techniques—particularly anatomy and perspective—in the late Ming to early Qing dynasties (17th–18th century) propelled the art of horse painting to an unprecedented height. The genre underwent a notable revival from the late Qing (19th to early 20th century) to the modern era, thanks to a further blending of traditional Chinese painting techniques with European and other styles. This exhibition celebrates the Year of the Horse in 2026 by examining and showcasing the achievements of Chinese horse painting from multiple perspectives: courtly and literati, classical and modern, Chinese and European. Divided into four thematic sections, the exhibition features nearly 100 masterpieces by more than 60 renowned artists from the Yuan dynasty (1271–1368) to the 20th century. The majority of the works on display are drawn from the collection of the Palace Museum. The exhibition is enriched by loans from the Hong Kong Museum of Art and the Art Museum, The Chin

"Beyond the Ordinary – Contemporary Book Art" is Print Art Contemporary’s thematic exhibition for 2026. Through the career stories of eight retired professional master printers, the exhibition introduces movable-type printing, an official part of Hong Kong’s Intangible Cultural Heritage, and foregrounds the four major processes of typesetting, printing, cutting and binding. The exhibition also explores how the concept of the book in contemporary art can transcend the formal constraints of binding and paper and encompass a range of media. Visual artists Lau Ka-chun, Li Xiao-qiao, Percy So and Dana Shek, as well as writers Wong Yi and Nicholas Wong, and stage lighting designer Lau Ming-hang, use their works to examine the current state of linguistic and textual dysfunction, and reimagine the role of the printed text alongside the growing influence of AI. Know more about Print Art Contemporary Website: www.printart-contemp.org.hk Facebook: www.facebook.com/printartcontemporary Instagram: @printartcontemporary

Jewellery is the world’s oldest art form, predating cave paintings by tens of thousands of years. Throughout history and across cultures, it has served to extend and amplify the human body, accentuating, enhancing, distorting, and transforming. Traversing time and place, this exhibition explores what jewellery is, why we wear it, and how it activates the body it adorns—probing in the process a fundamental aspect of what it is to be human. Unfolding a series of remarkable stories from a global history of jewellery, the exhibition features approximately 200 masterpieces from the Metropolitan Museum of Art in New York, spanning five continents and nearly 4,000 years from the second millennium BCE to the 21st century. Organised in five thematic sections, the exhibition traces the development of adornments from ancient civilisations to cutting-edge contemporary creations. Each section explores a distinct dimension of bodily adornment, offering insights into both the wearers and the cultures that shaped these diverse, yet related, works of art. These groupings of objects are clustered together to stimulate comparative thinking about these works of art across times and cultures.

David Zwirner is pleased to present an exhibition of works by Dan Flavin featuring the artist’s grids, a key body of work that he began in 1976. The first focused examination of this form, this presentation will include several re-creations of the way Flavin installed the grids in significant exhibitions during his lifetime, and will feature loans from important public collections as well as the Estate of Dan Flavin. A version of this exhibition was on view at David Zwirner New York in January–February 2026, and the presentation in Hong Kong is the first solo exhibition of the artist’s work in Greater China. From 1963, when he conceived the diagonal of May 25, 1963 (to Constantin Brancusi) , a single gold fluorescent lamp installed diagonally on a wall, until his death in 1996, Flavin produced a singularly consistent and prodigious body of work that utilized commercially available fluorescent lamps to create installations (or “situations,” as he preferred to call them) of light and color. Through these light constructions, Flavin was able to literally establish and redefine space.

Wael Shawky’s video work I Am Hymns of the New Temples (2023) delves into humanity’s beginnings and the construction of national narratives. Set among the ruins of Pompeii, actors wearing handmade ceramic and papier-mâché masks move through the remnants of the city, situated at the ancient crossroads of exchange between Egyptian, Greek, and Roman cultures. The work reinterprets shared creation myths and theatrical traditions to explore our need to make sense of the world through storytelling, and the way these narratives are adapted and reshaped for national purposes. Wael Shawky, I Am Hymns of the New Temples, 2023. Single-channel video (colour, sound). M+, Hong Kong. M+ International Council for Visual Art Fund, 2024. © Wael Shawky. Courtesy of Lisson Gallery. Commissioned by Pompeii Archaeological Park as part of Pompeii Commitment

Heri Dono’s kinetic installation Fermentation of the Mind (1992–1993) resembles a classroom, featuring rows of old wooden desks topped with white fibreglass heads. When activated by a pedal, the heads nod in unison and emit distorted chanting sounds. The work is inspired by Indonesia’s sociopolitical landscape in the early 1990s, particularly the state’s influence on public opinion and independent thought through propaganda. Drawing on the rich Javanese tradition of wayang kulit (shadow puppetry), Dono uses satire to reflect on history, society, and culture. Image at top: Heri Dono. Fermentation of the Mind , 1992–1993. Fibreglass and recycled parts; wooden desks, metal supports, books, cassette tapes, and electronics, overall: 600 x 600 x 100 cm. M+, Hong Kong. © Heri Dono. Photo: courtesy of Museum de Fundatie

A preeminent connoisseur and scholar-artist based in Hong Kong, Mr Wong had built an extensive and significant collection through a lifelong engagement with great works of successive dynasties. He possessed particularly profound knowledge of the principles, techniques, and aesthetics underlying paintings and calligraphic works from the Wei and Jin to the Ming dynasties (3 rd –17 th century). This expertise enabled him as an artist to cultivate a personal style steeped in classical traditions yet distinguished by a lyrical, poetic quality all his own. Mr Wong stood out as a true modern heir to China’s time-honoured literati tradition. From 2025 to 2026, Mr Wong Kwan Shut and his spouse Mrs Wong Pong Chi-ying generously donated 68 works to the Hong Kong Palace Museum, including representative works by Mr Wong, works he created in collaboration with his friends, as well as classical paintings from his collection. Dawning on this important donation, the exhibition pays homage to an exceptional scholar-artist, who conversed with and emulated ancient masters with his eloquent brush.

Design Ah! Experience the Wonder of Everyday Design is an interactive, family-friendly exhibition that explores design and its role in everyday actions. Through hands-on games, participatory installations, and immersive audiovisual environments, visitors are encouraged to look closely, try things out, and learn through play. The exhibition sheds light on how design can improve our lives, influence our behaviours, and foster human connections. Everyday life unfolds through interactions with many objects, from chopsticks and toothbrushes to buses, traffic lights, and much more. Each item was designed by someone who considered how it would be used and how it could improve daily routines. Design Ah! invites visitors to see and play with ordinary objects in new and unexpected ways, and to explore how they use their bodies, including their eyes, hands, and feet, to understand the world around them. The exhibition features 21 stations organised around 10 daily actions, some of which reference Hong Kong’s visual environment and culinary traditions. Developed through playfulness, ingenuity, and observation, these encounters spark curiosity and create moments of inspiration that will make e

Through form, all things come into being. Neither fixed nor absolute, form is a continuous state of becoming through which the unseen gradually reveals itself. Matter and spirit, memory and imagination, thought and emotion are not separate conditions, but different manifestations of the same unfolding process. Form is not merely what appears; it is the trace of transformation itself. Bringing together seven artists from Hong Kong, Indonesia, France, Lithuania, and Germany, FORM explores the many ways in which shape emerges through artistic practice. Across ceramics, photography, installation, painting, and textile works, form is examined not merely as an outward appearance, but as a process of transformation, perception, and becoming.

Bringing together nine established and emerging Hong Kong artists across diverse disciplines, this exhibition creates a remarkable space for dialogue between the majestic grandeur of the Forbidden City and the vibrancy of contemporary Hong Kong. Bridging Chinese heritage and contemporary art, the exhibition invites visitors on a journey across time to discover how historical wisdom and traditions continue to resonate in modern life. Through experimental artistic expression, it reimagines cultural heritage for the contemporary city with renewed vitality. Disclaimer: None of The Hong Kong Jockey Club Charities Trust, The Hong Kong Jockey Club, their respective affiliates or any other person involved in or related to the compilation of the contents herein (collectively, “the HKJC Parties”) makes any express or implied warranties or representations with respect to the accuracy, timeliness or completeness of the contents or as to the results that may be obtained by the use thereof. In no event shall any HKJC Party have any liability of any kind to any person or entity arising from or related to any actions taken or not taken as a result of any of the contents herein.

This edition of Art at the Stair features two experimental film works by the artist Andy Warhol. For Screen Tests , Warhol shot more than 350 short film portraits of artists, writers, actors, musicians, and socialites. The 10 screened here include artists Salvador Dalí and Marcel Duchamp; poets John Giorno and Allen Ginsberg; musicians Bob Dylan, Nico, and Lou Reed; models Donyale Luna and Edie Sedgwick; and writer Susan Sontag. Played in slow motion, these dreamlike vignettes heighten every tiny movement—a blink, a breath, a flicker of self-consciousness. Sleep captures American poet and artist John Giorno sleeping for more than five hours. Instead of narrative and action, Warhol offers the opposite: an extremely long film in which virtually nothing happens. The camera lingers on Giorno—Warhol’s romantic partner at the time—transforming his stillness into a hypnotic spectacle. The artwork defiantly tests your attention and redefines what a film can be.

This exhibition presents works that encompass traditional wood-fired ceramics, contemporary design, and everyday objects of refined aesthetic. It invites visitors into the intricate world of fire and clay, where elemental energy meets enduring warmth and beauty. The exhibition reflects distinct cultural contexts and qualities of materials. Incorporating local natural elements, capturing the ever-changing appearance of the clay under different temperatures and glazes, and resonating with the land across borders and cultures.

Whitestone Gallery is pleased to announce Traces , a two-person exhibition bringing together the work of Yukihisa Isobe (b. 1935, Tokyo) and the late Tetsuo Mizù (1944–2025, Tokyo). This marks the first occasion on which these two bodies of work have been placed in direct conversation, and it carries particular resonance following Mizù's passing in January 2025. Drawing on six decades of combined artistic production, the exhibition stages a dialogue between two practices united by a shared impulse: the desire to mark what is at risk of disappearing. Isobe, a pivotal figure in Japan's postwar avant-garde, first gained recognition for his Wappen series (1961-65): repeated heraldic symbols rendered in stone dust and embossed fresco textures. He subsequently spent two decades as a practising ecological planner before returning to art through monumental land-art installations that render invisible environmental histories visible. Mizù, celebrated across Europe and Asia for his luminous paintings derived from international maritime signal flags, encoded personal memory and longing within geometric abstraction. Though their methods diverge—one forensic, the other lyric—both artists devot

5 September – 3 October 2026 13/F, Gallery EXIT ​ Gallery EXIT presents CHO Wing Ki’s solo exhibition ‘Dazzled in the Loop’. The show extends her sustained engagement with urban landscapes...

The figurative paintings of Ethiopian-born artist Tesfaye Urgessa suspend compressed and fragmented bodies within spaces that resist ordinary logic, drawing the viewer into oneiric scenarios in which distinctions of place and time appear to fold into one another. Bringing together the artist’s most recent paintings, drawings and watercolours, ‘The Lingering Departure’ extends this indeterminacy into matters of movement and migration, taking the apparent contradiction between ‘lingering’ and ‘departure’ to evoke the liminality of transit. Having spent over a decade moving between Addis Ababa and Germany, Urgessa regards departure as an ongoing condition: one that begins, as he describes it, in the anticipation of where one is going and persists through the memory of a place left behind. The exhibition’s titular painting The lingering Departure (2025) locates the drawn-out goodbye and its psychic reverberations within two intimate groupings of figures. Each centres on a woman who engages the viewer directly: one cradles a naked man against her chest; from the folds of the other’s cape protrudes a man’s head, while an infant figure rests on her knee. Enveloping them is a disproportio

Toil and Soil marks Chiu Wei-Hsiang 's first solo exhibition in a gallery, presented by gdm Hong Kong. Rooted in memories of demolished family land and shaped by his daily labor in caregiving, Chiu transforms silence into color and exhaustion into fragile yet defiant images. His works summon dignity from overlooked lives, preserve fading kinship, and insist on identity under pressure — cultivating survival in the fissures between soil and toil.

Kiang Malingue presents at its Hong Kong location Wayfarer of Fire , a group exhibition bringing together Brook Hsu, Kwan Sheung Chi, Lai Chih-Sheng, Phillip Lai, Ellen Pau, Apichatpong Weerasethakul, and Samson Young. With a focus on the transformative power of cinema, sound and labour, the artists turn to Promethean figures and revolutionary visions, tracing the ways in which individuals and communities act as keepers of the flame, collectors of cinders, and fire-watchers—tending the life-giving potential of fire, reflecting on its mobility, monumentality, and memory, setting amnesia ablaze. Phillip Lai’s installation Untitled (Hypnos) (2023) turns, on the other hand, to the absence of fire, and to the absence of any vigilant, fire-watching figure. As the title suggests, the installation—a siren that sounds in total silence, a lighthouse that disorients—means to hypnotise, working as a relentless, clock-like fixture that ensures one does not wake. One may, however, also attempt to identify with it: the rotating beacon light set atop incinerated breakfast cereal resembles a human head, making the artwork far more anthropomorphic than many of Lai’s sculptural forms, such as the ca

The exhibition showcases newly donated models, drawings, and material samples that reveal Herzog & de Meuron’s innovative architectural practice. It focuses on built and unbuilt projects in China, including landmark buildings such as M+ (2012–2021), Tai Kwun in Hong Kong (2006–2018), and the National Stadium in Beijing (2002–2008), as well as urban planning projects that respond to how territory and landscape fundamentally shape the form of cities. These works reflect the firm’s deep engagement with China since the early 2000s, set against the backdrop of the country’s rapid economic growth and ambitious infrastructure development. Referencing the Kabinett—Herzog & de Meuron’s permanent repository of architectural knowledge for research and study—the objects are presented in exact replicas of the wooden vitrines developed for the firm’s foundation in Basel. As co-founder Jacques Herzog noted in 2002, ‘Since architecture itself cannot be exhibited, we are forever compelled to find substitutes.’ This open storage format offers visitors an intimate glimpse into the creative processes and thinking behind their groundbreaking works.

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David Zwirner is pleased to present a group exhibition organized and conceived by gallerist Matthew Brown. This exhibition, titled Nocturnal , will present works by Uri Aran, Patricia Ayres, Julie Beaufils, Sedrick Chisom, Carroll Dunham, Nat Faulkner, Sasha Gordon, Kenji Ide, Olivia van Kuiken, Heidi Lau, Jack O'Brien, Kent O'Connor, Trevor Shimizu and Michelle Uckotter.

Myths and Monsters: The Art of Fantasy in Asia explores the role of fantasy in the evolution of Asian visual culture and its global impacts. Spanning from the nineteenth to twenty-first centuries, the exhibition presents fantasy as a potent creative tool for artists to respond to shifting sociopolitical conditions. Through imaginative stories, characters, and worlds, these artists confront complex realities that resonate with contemporary experiences. This groundbreaking exhibition reveals the links between a wide range of genres and styles, highlighting historical connections that have rarely been explored. Unfolding across four chapters, the exhibition begins with pre-modern traditions such as Japanese ukiyo-e woodblock prints, Chinese shadow puppetry, and Tibetan Buddhist scrolls. These traditions helped establish fantasy as a foundational element of Asian visual culture. Chapters two and three trace major twentieth-century developments, including the spread of Surrealism through Asia and the post-war emergence of Japanese manga and anime. The final chapter presents the explosion of fantastical anime aesthetics in art, design, architecture, film, fashion, video games, and digit

Yunyao Zhang, Connector XI , 2026 White Cube Hong Kong presents ‘When the Surface Thinks’, a solo exhibition by Paris-based Chinese artist Yunyao Zhang (b. 1985, Shanghai). With this new body of work, the artist contends that meaning can reside within a surface – proposing painting as a sentient field that registers, reflects and thinks. The exhibition presents large-scale, illusionistic abstractions from Zhang’s ‘Connector’ series (2022–present), tight close-ups of carved heads from the ‘Time’ series (2021–present), and studies of classical statuary. These works subvert the traditions of Soviet Realism and the French Beaux-Arts that informed Zhang’s early academic training. Central to the artist’s practice is his use of graphite on felt, a material that is both light-absorbent and resistant to revision. Unlike oil on canvas, which allows for overpainting and correction, graphite becomes embedded into the textured plane. Through a sustained and highly physical process, Zhang builds tonal depth across the textile’s flatness, creating images that appear at once sculptural and weightless. ‘ Inside the White Cube ’ is a series of exhibitions showcasing work by non-represented artists

This exhibition marks the first Hong Kong presentation of Here? or There? (2002), a large-scale multimedia installation by artists Lin Tianmiao (born 1961, Shanxi) and Wang Gongxin (born 1960, Beijing). The M+ Collection work premiered at the 2002 Shanghai Biennale before touring widely across Europe and the United States. The immersive installation pairs Lin’s sculptural dresses, made from fabric and hair, with Wang’s disjunctive soundscape and six-channel video projection. The artwork’s pervasive sense of eeriness and disorientation evokes the social and psychological effects of a rapidly changing world. Accompanying the installation are two mesmerising pieces that the artists made separately, Dialogue (1995/2017) by Wang and The Black Sameness (2011) by Lin. As a whole, the exhibition reveals how the two artists explore the relationships between danger and safety, despair and hope, and certainty and doubt in everyday life. Image at top: Lin Tianmiao and Wang Gongxin. Here? or There? , 2002. Installation view of Bound, Unbound , Asia Society New York, 2012. Mannequins and six-channel video projection. M+, Hong Kong. Museum purchase and gift of Take a Step Back Collection, 2023.

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Centrifuge (2017) is an intricate and densely interconnected environment by artist Sarah Sze (American, born 1969). The artwork comprises found and made objects alongside analogue and digital technologies, with constellations of objects and images spiralling outwards and upwards into the air as if driven by an explosive force. Videos are projected onto the installation and throughout the space, turning this abstract assemblage into an immersive and dynamic experience. Strewn with detritus, Centrifuge resembles an abandoned archaeological site. Nestled among the ruins are clusters of objects and maquettes that compress the expansive environment into intimate microcosms. Centrifuge was originally commissioned by the acclaimed Nigerian-born curator Okwui Enwezor (1963–2019) for Munich’s Haus der Kunst when he was the institution’s artistic director. It is now part of the M+ Collection. Presented for the first time since its 2017 premiere in Germany, the installation offers a timely commentary on the unstable, image-saturated world that we inhabit, generate, and consume. To accompany the display, Sze will create a newly commissioned work for the M+ Facade.

M+ presents a new work by LuYang , one of the most distinctive voices in contemporary new media art. The exhibition features DOKU The Illusion , the fourth chapter in the artist’s ongoing DOKU series. The series centres on a genderless digital avatar moving across realms of consciousness, reincarnation, and technological transformation. Drawing on Buddhist cosmology, gaming culture, computer animation, motion capture, and popular media, LuYang creates immersive worlds in which the boundaries between self and avatar, consciousness and illusion, and life and simulation dissolve. In DOKU The Illusion , the artist continues to explore the constructed nature of reality through a highly charged visual and sonic environment. The work is presented as a spatial experience in The Studio, making full use of the site’s cavernous scale and architectural openness.

Hong Kong: Here and Beyond 2027 tells the story of Hong Kong from the 1970s to now through the lives and works of the city’s most influential cultural figures. Connecting Hong Kong with downtown Beijing, New York, London, and beyond, this exhibition brings established and lesser-known narratives into new focus by exploring more than 50 pioneering artists and makers.​ The exhibition highlights Hong Kong as a city that is porous and outward-looking, steeped in contradictions and complexities, with a cultural reach that extends beyond its borders. It reflects upon the demographic, economic, and political changes of the past 50 years through artists and makers who have shaped Hong Kong in tangible and intangible ways. As China began to emerge from isolation at the end of the 1970s, Hong Kong’s geopolitical position shifted, inspiring new sensibilities and responses to culture, identity, and belonging that have continued to evolve over the decades.

Landmarks: Architecture in Asia for the 21st Century is the first exhibition to showcase twenty-first-century architecture across Asia. Presenting fifty projects built since the turn of the millennium, the exhibition reconsiders the concept of ‘landmarks’ through four thematic lenses: Defining Identities, Embracing Nature, Building Communities, and Regenerating Heritage. The featured projects demonstrate how architectural design embodies the ambitions of institutions, cities, and nations while restoring and engaging with the natural environment. Furthermore, they reveal architecture’s capacity to foster social bonds, sustain livelihoods, and preserve and activate our shared past. From urban icons in megacities to humanitarian projects in the countryside, the projects include a wide variety of building types in seventeen countries across the continent. Together, they reveal the cultural, social, economic, and environmental forces driving urban, rural, and architectural transformation in Asia, the region that has experienced arguably the most radical and rapid change in recent decades. More importantly, the exhibition offers an expanded view of what constitutes significant ‘markers’

With a career spanning five decades and more than two hundred projects, Geoffrey Bawa (Sri Lankan, 1919–2003) was the most influential architect in post-independence Sri Lanka and one of the leading figures in South Asian architecture. His remarkable oeuvre includes hotels, private residences, schools, universities, factories, office buildings, and the Sri Lankan Parliament building. Motivated by a keen sensitivity to context and a direct response to the terrain, his work blends the principles of modernism with the island’s architectural history and challenges the boundaries between inside and outside. Bawa took pleasure in making buildings with a hands-on approach, working closely with craftspeople and local industries while harnessing knowledge from different eras, geographies, and cultures. Taking an expansive worldview, Bawa asserted that good architecture had to make sense—both emotionally and practically. Today, his architectural strategies are being rediscovered, inspiring socially and ecologically sustainable building practices across the world. The exhibition is divided into four sections: architecture’s relationship to identity and political discourses, creative collabor

M+ presents an installation of sound instruments by Tarek Atoui (Lebanese, born 1980), which draws on the artist’s longstanding research into the sonic environments of East and Southeast Asia. The exhibition features a newly configured selection from Atoui’s three long-term projects: The Ground (2015–ongoing), The Rain (2019–ongoing), and The Harvesters (2021–ongoing). Together, they explore musical, agricultural, and craft traditions in China, South Korea, Thailand, and beyond. Atoui’s instruments are not static objects but active sculptural systems. A drop of water may trigger a drum sequence. Electrical air blowers simulate breath, activating structures that recall traditional bamboo pipes. There is also an element of chance—ceramic forms, strings, and rotating surfaces set off chain reactions, resulting in random harmony and dissonance.

The fourth exhibition of the M+ Sigg Collection is a decades-spanning overview of Chinese contemporary art that draws inspiration from the two oldest groups of works in the collection: figurative, socialist realist paintings, and the landscapes and everyday urban scenes by the No Name Group, the first group of contemporary artists who worked in non-official, Impressionist-inspired styles. The exhibition explores two recurring subjects—people and space—that weave throughout the development of Chinese contemporary art. By examining the diverse ways artists represent these subjects, the exhibition traces the remarkable social and conceptual shifts in artmaking from the 1970s to the 2010s, moving from grand narratives, collectivism, and public life to individual expressions of private and intimate experiences. The exhibition is structured around two main threads. The first, Figures, Bodies, Minds examines the long-term influence of socialist realism on Chinese contemporary art. It surveys how artists challenge or reveal the principles of this style as they shift their focus from the collective to the individual, in which the body becomes a vehicle for contemplating existence. Meanwhil

Since 2010, Art Promotion Office has launched public art projects such as "Art@Government Buildings" and "ARTivating Public Buildings". By embellishing public areas in government buildings with artistic elements, these projects not only aim to create a new visitor experience, but also intend to encourage creativity in local artists. APO lately has launched a new public art project entitled "Art n GOs" as part of a continuing effort to create an artistic space in government premises. Through these art installations, we hope to facilitate local development of public art and open up new ways of seeing art for the general public. In this project, we have commissioned local architect Tsoi Wai Kuen to create an artwork titled Transience at the West Kowloon Government Offices. As a young registered architect devoted to local culture, Tsoi has been actively engaged in various exhibitions and events in an attempt to widely promote the interaction between culture, space and community. Transience is a simple static installation that offers visitors a dynamic and ever-changing visual experience. Each module within the work is composed respectively of three distinct colours, three groups of pa

The Cabinet is an exhibition space consisting of forty movable panels showcasing over two hundred works from the M+ Collections. The evolving display creates a sense of wonder by bringing together objects and ideas in unexpected ways and celebrates the rich and diverse visual culture of the twentieth and twenty-first centuries. Explore The Cabinet through an interpretative game using your own mobile device and share your insights with other visitors. Fan Ho's striking black-and-white photographs captured aspects of everyday life in 1950s and ’60s Hong Kong, providing a unique window into the past

Design and architecture define the things we use, create the spaces we inhabit, and ultimately inform the way we see and live in the world. Things, Spaces, Interactions presents more than five hundred examples of furniture, architecture, graphic arts, and other design objects that have had a profound influence in Asia and across the globe over the last seventy years. Design moves across borders and is shaped by transnational exchange. This exhibition reveals the larger forces at play in this region, including social and economic change in a global context, and shows how design and architecture give us a window onto questions that are deeply relevant to our lives today. VOICE-OVER: Design and architecture define the things we use, the spaces we inhabit, and the ways we see the world. Things, Spaces, Interactions presents key works from the M+ Collections that inspire us to look closely at the objects and spaces we interact with every day. This exhibition examines how developments in design and architecture across Asia are intertwined with shifts in the region’s economics, politics, and culture in the twentieth and twenty-first centuries.

Neon signs define Hong Kong’s visual culture through their representations in film, visual art, literature, and other cultural forms. Since 2013, M+ has been acquiring neon signs from the streets of Hong Kong, not only to celebrate their cultural significance but also to preserve these iconic objects that are steadily disappearing from the city's visual landscape. The signs of Sammy’s Kitchen and Kai Kee Mahjong parlour are the first two neons to enter the M+ Collection. By examining them, we gain insight into their design, typography, engineering, and craft. Their journey from the streets into M+ is also the starting point for our research into the long-term preservation and conservation of neons, not just in Hong Kong, but also across the globe. Image at top: Neon sign for Kai Kee Mahjong parlour. M+, Hong Kong. Photo: Cpak Studio

Visible from various angles upon entering the museum, our supporters' names spiral gently upwards on one of the central structural columns holding up the M+ building, symbolising their support to the museum’s continued success. Commissioned by M+, the Donor Wall is created by acclaimed designer Nakamura Yugo and his team at tha Ltd. Nakamura Yugo is considered one of Japan's leading web and interaction designers, having studied engineering, architecture, and landscape design. He is a professor at Tama Art University and has created websites and digital works for clients including the Museum of Modern Art in New York, Issey Miyake, and Uniqlo. Nakamura has exhibited and lectured in Asia, the United States, and Europe. His works have been shown at Centre Pompidou in Paris, Vienna Künstlerhaus in Vienna, and the Design Museum in London. Nakamura is the founder of the web development company, tha Ltd .

M+ Playscape is a space inspired by and features the work of sculptor and designer Isamu Noguchi. With play and flexibility in mind, Noguchi designed structures influenced by natural and historical forms and encouraged audiences to interact with his landscapes and play sculptures, known as ‘Playscapes’. Unlike most objects in the museum, we encourage you to touch and interact with these works in undirected, freeform ways. This playscape includes benches adapted from a public space called California Scenario (1980–1982, Costa Mesa, California, United States) and three play sculptures: several configurations of Octetra , a Play Pyramid excerpted from a makeshift playground Kodomo no kuni (1965–1966, Yokohama, Japan), and a Play Mound adapted from Piedmont Park’s Playscapes (1975–1976, Atlanta, Georgia, United States). These play structures are tools for stimulating our senses, inspiring experiential experimentation, and making connections between the body and the imagination.

Shanshui: Echoes and Signals is a thematic exhibition of works drawn from the M+ Collections that explores the complex connections between landscape and humanity in our post-industrial and increasingly virtual world. Shanshui (‘mountain and water’) is a cultural legacy integral to Chinese philosophical thinking and poetic imagination and motivates a millennium-old tradition of ink painting across East Asia. Although commonly translated as ‘landscape’, shanshui can take us far beyond observable reality. It manifests invisible resonances—between stillness and motion, vision and imagination, the fleeting immediacy of experience and the persistence of history and memory. The exhibition reimagines shanshui through sculpture, moving image, sound, design and architecture, and ink painting, searching for signals across contemporary mediums. Exceptional paintings and prints by artists of different generations—such as Yang Jiechang, Wesley Tongson, and Guo Hongwei—demonstrate formal and conceptual experimentations with landscape. The dense telecommunication networks that overlay our physical world are made perceptible as a new kind of landscape through an iconic LED installation by Tatsuo M

The Chinese ceramics housed in the Palace Museum—unparalleled in volume, quality, and variety—are mainly inherited from the imperial collections of the Ming (1368–1644) and Qing (1644–1911) dynasties. This exhibition features over 100 representative Ming ceramic treasures from the collection of the Palace Museum. It is organised in three sections and explores the development and the outstanding achievements of ceramic production in form, glaze, and design in the early, mid-, and late Ming dynasty. The Ming dynasty was a golden age of Chinese ceramics. The ceramics produced then are remarkable works of art, distinguished by their quality and diversity. They tell stories of the imperial court, technological advances, and cultural exchanges. Imperial kilns were founded at Jingdezhen in Jiangxi province in 1369 to produce pieces for the exclusive use of the court, which imposed strict control over the management of the kilns. As a result of imperial patronage, Ming emperors influenced porcelain production and style. Ming potters, continuing the legacy of their predecessors, perfected their craft and sought to break new ground. As powerful vehicles of cultural exchange, Ming ceramics w

For the first phase, Vo created structures that act as flexible display systems. The initial showcase features an array of Akari light sculptures by Japanese American artist Isamu Noguchi, complemented by a selection of tropical plants. The term Akari, meaning ‘light’ or ‘illumination’ in Japanese, refers to a group of more than 100 sculptural lighting designs Noguchi created between 1951 and 1986. Noguchi drew inspiration from traditional lanterns made in Japan’s Gifu prefecture from mulberry bark paper and bamboo. Akari sculptures are affordable works of art as well as functional lamps for homes. Noguchi’s diverse creative practice, straddling sculpture, design, and architecture, resonates with Vo’ s interest in how objects carry multiple stories and meanings. Danh Vo (b. 1975, Vietnam) uses found objects and contexts to consider the play of intimacy and power across time. His installations have a spatial and aesthetic ease and often make collaborators of artists, friends, and family. Vo sees desire as key to how cultures persuade, resist, and adapt. In his work beauty is a key to the making and unmaking of identity.

M+ Members and Patrons enjoy unlimited admission to all galleries and exhibitions; Patrons can bring up to three guests per visit. The Nakagin Capsule Tower and Kiyotomo sushi bar were located a mere ten-minute walk from each other along the edge of a bustling business and commercial district in Tokyo. With one of the city’s major transportation hubs sandwiched between the two, the area became a convenient social site for people as they travelled between their workplaces and suburban homes. Both the customisable living units in Nakagin and the stylish dining experience of Kiyotomo served the same demographics at the height of their operations in the late 1980s and early 1990s. Conceived by progressive design talents Kurokawa Kisho (1934–2007) and Kuramata Shiro (1934–1991), respectively, they encapsulated the highly refined lifestyle and culture of modern workers in Japan in an era of heady optimism. Located in the heart of Tokyo, Kurokawa Kisho’s Nakagin Capsule Tower housed 140 self-contained units. The small apartments were designed for short-term stays by people who worked in the urban centre while living in the suburbs, reflecting new trends in how people moved throughout the

Making It Matters follows the process of making from concept and research to design and fabrication, as well as the social networks that link each step. By delving into the inspirations, techniques, and impacts behind the selected works, the exhibition helps us understand our own roles in processes of making and their relation to our daily lives. This exhibition mostly draws upon the diverse works of the M+ Collections. The artists, designers, and architects featured include John Cage, Harold Cohen, Julie & Jesse, John Maeda, Raffaella della Olga, Anna Ridler, Ki Saigon, Fujimori Terunobu, Jay Sae Jung Oh, Stanley Wong, and Võ Trọng Nghĩa Architects . It follows the process of making from concept and research to design and fabrication, as well as the social networks that link each step. By delving into the inspirations, techniques, and impacts behind the selected works, the exhibition helps us understand our own roles in processes of making and their relation to our daily lives.

The third exhibition of the M+ Sigg Collection builds on the groundbreaking previous editions, M+ Sigg Collection: From Revolution to Globalisation (2021–2023) and M+ Sigg Collection: Another Story (2023–2025). This new display provides a new and in-depth perspective on the collection and contemporary Chinese art by spotlighting key artists and trends. M+ Sigg Collection: Inner Worlds looks at the art of this period through the lens of emotional expression. The thirty-eight artists here communicate joy, sadness, calm, anxiety, doubt, and wonder. Their works capture their responses to a changing nation, creating art that aims to inspire emotional resonance in its audience. As you explore this exhibition, we encourage you to view the works with curiosity and experience the emotions they are trying to convey.

Committed to promoting visual arts, the Art Promotion Office fosters a connection between the community and the arts, bringing art into everyday life and integrating it into the community. We have brought the images created by Hong Kong designer and artist UUendy Lau for the Intangible Cultural Heritage ("ICH") Mobile Centre to the newly completed Tseung Kwan O Government Offices, introducing a range of ICH practices associated with traditional festivals, including patterned band weaving technique, unicorn paper crafting technique, flower lantern crafting technique, and the basin feast. Through the display, audiences can feel the care and blessings conveyed by ICH practitioners, and gain a deeper understanding of the Chinese cultural significance behind them. Date：From 26.5.2026 Location：Lobby, 1/F, North Tower, Tseung Kwan O Government Offices, 30 Tong Yin Street, Tseung Kwan O, Hong Kong Open all day Free admission

For more than five millennia, Chinese civilisation has developed continuously, shaped by a long tradition of cultural openness and dynamism. These enduring qualities have sustained the vitality of Chinese society and culture across time. The Ming (1368–1644) and Qing (1644–1911) dynasties inherited the established systems of governance and moral lineage of earlier periods. Through diplomacy and trade, they engaged with a wide range of regions and communities, encouraging dialogue, exchange, and mutual understanding across cultures. As the imperial palace of the Ming and Qing dynasties, the Forbidden City not only served as the centre of political power but also provided a platform for interactions between China and the wider world. Its architecture, artefacts, and stories carry the imprint of history, and its history attests to more than five centuries of cross-cultural encounters, involving the flow of goods, technologies, arts, ideas, and cultures. Together, these exchanges inspired creativity and transformation in world civilisations. Disclaimer: None of The Hong Kong Jockey Club Charities Trust, The Hong Kong Jockey Club, their respective affiliates or any other person involve

The Forty Part Motet (A reworking of ‘Spem in Alium’, by Thomas Tallis 1556) (2001) is a deeply moving sound installation by artist Janet Cardiff (Canadian, born 1957). This pioneering work immerses visitors in a performance of ‘Spem in Alium’ (Hope in Any Other), a sixteenth-century sacred motet, or polyphonic choral composition, by composer Thomas Tallis (English, 1505–1585). To make the work, Cardiff recorded forty members of the Salisbury Cathedral Choir singing the piece individually. She then placed forty speakers in a large oval, with each speaker playing a different part. The installation offers a transcendent spatial experience of music as the sound shifts from one speaker to the next before converging as a full choir. As Cardiff explains, ‘With this piece I want the audience to be able to experience a piece of music from the viewpoint of the singers. Every performer hears a unique mix of the piece of music. I am interested in how sound may physically construct a space in a sculptural way and how a viewer may choose a path through this physical yet virtual space.’