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Asian Art Calendar of Events

Tuesday, February 24, 2026
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    New Mandala Lab
    Place: The Rubin Museum of Art - New York, 150 West 17th St., USA
    Date: Oct 01, 2021 to Oct 30, 2027
    Detail: An Interactive Space for Social, Emotional, and Ethical Learning

    The Mandala Lab, located on the Museum’s remodeled third floor, invites curiosity about our emotions. Consider how complex feelings show up in your everyday life and imagine how you might have the power to transform them.

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    New Knotted Clay: Raku Ceramics and Tea
    Place: Smithsonian Institution - Washington, 1050 Independence Ave. SW, USA
    Date: Dec 09, 2023 to Dec 09, 2026
    Detail: Japan’s rich history of ceramic artistry developed in large part alongside the culture of drinking tea. The practice of preparing and serving matcha, powdered green tea, was called chanoyu (literally, “hot water for tea”) and gained popularity in the sixteenth century. Japanese tea practitioners initially used Chinese and Korean antique ceramics as tea bowls but began using newly made Japanese tea bowls, such as Raku ware, in the sixteenth century. Raku ware shares its name with the family that has made these ceramics in Kyoto since the sixteenth century. Unlike most tea bowls, Raku ceramics are built by hand—a process described as “knotting clay”—as opposed to using a wheel. Sixteenth-century potters are said to have collaborated closely with their tea-practitioner patrons to create distinctive vessels best-suited for tea drinking.

    Over the next four centuries, a network of Japanese potters incorporated Raku techniques into their practice; these techniques were later adopted in the 1950s by the American studio pottery movement. Raku wares are now internationally recognized as a Japanese ceramic style and continue to inspire artistic creativity worldwide. Knotted Clay: Raku Ceramics and Tea explores these distinctive, hand-molded ceramics and their close relationship to Japanese tea culture. This exhibition features tea bowls, water containers, and other vessels in the museum’s permanent collection that demonstrate the glazes and forms unique to Raku ware.

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    New Do Ho Suh: Public Figures
    Place: National Museum of Asian Art | Freer Plaza - Washington, 1050 Independence Ave. SW, USA
    Date: Apr 27, 2024 to Apr 29, 2029

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    New Ai Weiwei: Water Lilies
    Place: Seattle Asian Art Museum - Seattle, 1400 East Prospect Street, USA
    Date: Mar 19, 2025 to Mar 15, 2026
    Detail: Nearly 50 feet in length and made from 650,000 LEGO blocks, Ai Weiwei’s Water Lilies (2022) is the artist’s largest and most ambitious LEGO work to date. This reinterpretation of Claude Monet’s iconic triptych from the Museum of Modern Art in New York offers an equally immersive experience, merging the lush beauty of Monet’s water lilies with Ai’s personal history.

    Visitors can experience this work—displayed in one long panel on a single wall—up close in an intimate gallery at the Seattle Asian Art Museum. This is the first time this work has been shown in the US; it debuted in 2023 at the Berlin art gallery neugerriemschneider.

    The piece has a connection with the Seattle Art Museum’s history. An actual Monet Water Lilies work was loaned to the museum in 1956 by Walter P. Chrysler Jr., who purchased it from the Monet estate and toured it around the United States. The painting was displayed in the Fuller Garden Court of the Seattle Asian Art Museum, the original home of the Seattle Art Museum

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    New Reasons to Gather: Japanese Tea Practice Unwrapped
    Place: Freer Gallery of Art | Gallery 8 - Washington, 1050 Independence Ave. SW, USA
    Date: Apr 12, 2025 to Apr 26, 2026
    Detail: Japanese tea practice, chanoyu, centers on the appreciation of tea utensils used to prepare and consume powdered green tea, called matcha. Chanoyu elevates these utensils, which include ceramic tea caddies, tea bowls, and hanging scrolls of calligraphy, into objects of aesthetic admiration. The objects in this exhibition accumulated significance over generations through their continued use and display at tea gatherings. Tea practitioners have also cherished the accompanying boxes, documents, and textiles that demonstrate an object’s accrued layers of historical and cultural meaning.

    Reasons to Gather: Japanese Tea Practice Unwrapped presents eleven historic tea utensils and accessories, including ceramics, hanging scrolls, boxes, and wrapping cloths. Finding their way from China, Korea, and South Asia into Japanese tea rooms, these objects tell a story of trade and exchange across Asia. This exhibition unveils how chanoyu brought together these different cultural elements through networks of tea practitioners.

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    New Realms of the Dharma: Buddhist Art Across Asia
    Place: LACMA, Resnick Pavilion - Los Angeles, 5905 Wilshire Blvd., USA
    Date: May 11, 2025 to Jul 12, 2026
    Detail: Realms of the Dharma: Buddhist Art Across Asia presents an international survey of Buddhism and Buddhist art, beginning with the religion’s origins in India and following its spread through mainland and island Southeast Asia (Myanmar [Burma], Thailand, Cambodia, Vietnam, and Indonesia), the Himalayas (Kashmir, Nepal, and Tibet), and East Asia (China, Korea, and Japan). Incorporating 180 masterpieces of pan-Asian Buddhist art, the exhibition introduces key concepts of Buddhist thought and practice viewed through the prism of rare and extraordinarily beautiful Buddhist sculptures, paintings, and ritual objects.

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    New Risham Syed: Destiny Fractured
    Place: The Newark Museum - Newarj, 49 Washington St., New Jersey, USA
    Date: May 16, 2025 to Mar 07, 2027
    Detail: The sixth artist to develop an exhibition of works based on The Newark Museum of Art’s collection, Risham Syed addresses colonialism, capitalism, and climate change.

    Some of the inspirational artworks from the NMOA collection include American landscapes, Chinese scroll paintings, and the period rooms in The Ballantine House. The artist has created new artworks for the exhibition that will be presented alongside her previous installations and NMOA collection objects in the Global Contemporary galleries as well as in the landscape gallery in Seeing America. Syed has produced art in a variety of mediums, including videos, embroidered silk panels, installations with paintings and objects, and printed textiles.

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    New Fuse Box: Sarah Sze
    Place: Denver Art Museum - Denver, 100 W 14th Ave. Pkwy., Colorado, USA
    Date: Jul 13, 2025 to Jul 31, 2026
    Detail: Fuse Box is a project space dedicated to the presentation of significant new media artworks created by artists recognized for their pioneering practices in film, video, sound, animation, and computer programming, including gaming, internet art, virtual reality, augmented reality, mixed reality, machine learning, and other nascent technologies.

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    New Animal Power
    Place: Harvard Art Museums - Cambridge, 32 Quincy Street, Massachusetts, USA
    Date: Oct 22, 2025 to Oct 21, 2026
    Detail: This is an exploration of the diverse range of animal representations in a recent installation in our Islamic and South Asian art galleries, including their symbolic meanings and cultural significance. On view in the Islamic art gallery (2550) are a 16th-century Persian carpet depicting hunting animals, a selection of ceramic and metal sculptural objects, often serving functional purposes, from 13th- and 19th-century Iran, and contemporary glass birds by Turkish artist Felekşan Onar. The display in the South Asian art gallery (2590) includes a devotional painting showing animal mounts of Hindu deities, 18th-19th century, a textile featuring Hindu mythical animals in an ogival lattice design from the Islamic world, c. 1700, and a Gujarati embroidery with rainbow-colored birds, 15th century.

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    New Light as Air: The Buoyant Sculptures of Mariko Kusumoto
    Place: Morikami Museum and Japanese Gardens - Delray Beach, 4000 Morikami Park Road, Florida, USA
    Date: Nov 06, 2025 to Apr 04, 2026
    Detail: The Morikami Museum and Japanese Gardens invites you to Light as Air: The Buoyant Sculptures of Mariko Kusumoto, a special exhibition celebrating the sustained devotion to traditional craft as interpreted by the innovative contemporary artist, Mariko Kusumoto. The daughter of a Buddhist priest, Kusumoto grew up in a 400-year old temple in Japan. The beauty of the landscape and the textures of the aging temple always intrigued the emerging artist. She studied painting and printmaking at Musashino Art College in Tokyo and at the Academy of Art University in San Francisco. After several years of working in metal sculpture, Kusumoto began to experiment with tsumami zaiku, the ancient art of folding and pinching fabric. Mariko Kusumoto’s fiber creations are inspired by a range of phenomena, from organic to man-made. Many of the diaphanous forms seem to be floating in water, eliciting images of a lush aquatic garden. In Light as Air, Kusumoto will expand the scale of her transparent sculptural forms to create a unique, on-site installation that will meander and float into all dimensions of the gallery space.

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    New More Things Japanese
    Place: Heritage Museum of Asian Art - Chicago, 3500 S Morgan St, 3F, USA
    Date: Nov 15, 2025 to May 31, 2026
    Detail: More Things, Japanese is an encyclopedic exhibition that showcases the richness and diversity of traditional Japanese art, spanning from the 6th–7th centuries through the 20th centuries. Featuring a wide array of historical objects—including ceramics, textiles, paintings, woodblock prints, and religious artifacts—this exhibition invites audiences to engage more deeply with Japan’s visual, material, and spiritual culture.

    The title More Things, Japanese is both a gentle provocation and a generous invitation. While many Chicagoans may feel acquainted with Japanese culture through sushi restaurants, ramen shops, gardens, and seasonal festivals, this exhibition offers a chance to go further—to explore more things, more stories, and more perspectives.

    As part of the Heritage Museum of Asian Art’s ongoing commitment to amplifying underrepresented narratives within the Asian American experience, the exhibition also honors the history and contributions of Japanese Americans in Chicago. In the wake of World War II and Japanese internment, many families resettled in the Midwest, including here in Chicago. Over time, their presence has become less visible. Through this exhibition and its related programs, we seek to re-center those stories and celebrate the enduring cultural legacy of the Japanese American community.

    Highlights include masterworks of early Japanese art, Edo-period prints and scrolls, and domestic and ceremonial objects that speak to everyday life and philosophical tradition. Accompanying the main exhibition, a rotating pop-up series will present works by local Japanese and Japanese American artists—showcasing how Japanese art and culture have continued to thrive across both geographic and generational boundaries. A robust slate of public programs—including workshops, artist talks, and community events—will celebrate the ongoing influence of Japanese aesthetics, philosophy, and craftsmanship within Chicago’s contemporary art and cultural landscape.

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    New Bodhidharma
    Place: Harvard Art Museums - Cambridge, 32 Quincy Street, USA
    Date: Dec 02, 2025 to May 31, 2026
    Detail: In the sixth century, an Indian or Central Asian monk named Bodhidharma traveled to China and established the Chan sect of Buddhism, a new Mahayana school centered on meditation and the personal transmission of doctrine from teacher to student. In the following centuries, Chan was introduced to Korea (as Seon) and Japan (as Zen).

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    New Blank Space
    Place: Harvard Art Museums - Cambridge, 32 Quincy Street, USA
    Date: Dec 09, 2025 to May 31, 2026
    Detail: This installation considers the myriad uses of negative space in East Asian art. The omission or removal of ink, pigments, and glaze allows artists to construct depth, to focus the viewer’s attention, and to create novel designs through experimentation with materials. Absences also create opportunities for viewers to fill in missing pieces of compositions using their imagination.

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    New Year of the Fire Horse
    Place: Asia Society Museum - New York, 725 Park Avenue, USA
    Date: Jan 14, 2026 to Mar 01, 2026
    Detail: Welcome the Year of the Fire Horse with our special display of equine sculptures in the Visitor Center.

    Symbolizing immense prowess across Asia, the horse was seen as an emblem of success and elevated social status dating back to the fourth century. It is likely that horses were domesticated during the late Neolithic period, around 2500 B.C., and were first introduced to China as means of transportation by bowmen living in Southeastern Europe and Western Asia shortly before 300 B.C. Horses were used not only for transportation along trade routes but also as chargers in war and
    were bred as such.

    This Lunar New Year, which begins on February 17, 2026, is the Year of the Fire Horse. One of the earliest known mentions of the horse in the context of the zodiac is from The Book of Songs (circa 11th–7th BCE), a foundational text in Chinese culture. Another early mention occurs in a popular Chinese Daoist legend, in which the Jade Emperor held a race for all animals in pursuit of selecting the first twelve to finish as animals of the zodiac cycle. Throughout the cycle, one animal is associated with one of the Five Elements each year: Metal, Water, Wood, Fire, and Earth.

    The intersection of the two is thought to determine the qualities and personality of a person born during that zodiac year, with each element bringing out different attributes. (Asia Society’s founder John D. Rockefeller 3rd was born in a Year of the Fire Horse, in 1906.) For 2026, the Year of the Fire Horse is expected to bring to the world a cycle of heightened passion, boldness, energy, and courage.

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    New Ran Hwang | Noble Blossoms
    Place: The Korea Society - New York, 350 Madison Avenue, 24th Floor, USA
    Date: Jan 27, 2026 to Apr 17, 2026
    Detail: In her solo exhibition, Ran Hwang presents large-scale installations that are both intricate and poetic, delicate yet dramatic, as they explore the cyclical patterns of life and the fleeting nature of beauty.

    Hwang creates her art through a meticulous and repetitive process, utilizing everyday materials such as paper buttons and pins. This requires intense concentration and discipline, reflecting the meditative state of Zen masters and the spiritual values traditionally sought by scholars of the past. While painstaking and labor intensive, the process also embodies an aesthetic of transcending difficulty, ultimately visualizing a serene beauty and noble spirit that defines the artist’s unique perspective. Through her work, Hwang evokes a sense of tranquility, inviting the viewer into an experience that seeks fulfillment and peace.

    Ran Hwang’s work permanently resides in the collections of internationally acclaimed venues, including the Brooklyn Museum in New York, Museum of Fine Arts in Houston, Deji Art Museum in Nanjing, Dubai Opera House, Des Moines Art Center in Iowa, New York University and National Museum of Contemporary Art in Seoul. Her work has been exhibited internationally at venues including AAW(Asian Art Works), Leila Heller Gallery in New York and Dubai , Asian Civilizations Museum in Singapore, UNESCO Headquarters in Paris, Mass MoCA in Boston, Fondation d’entreprise Hermès in Singapore, the Facebook New York Headquarter, Baker Museum in Florida, and Venice Biennale 2024. She has won Gold Prize by AHL Foundation NY in 2004 and Pollock-Krasner Foundation Grant in 2015. Hwang has studied at the School of Visual Arts in New York.

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    New Mythical Creatures: The Stories We Carry
    Place: USC Pacific Asia Museum - Pasadena, 46 North Los Robles Avenue, California, USA
    Date: Feb 14, 2026 to Sep 06, 2026
    Detail: A major exhibition that transforms USC Pacific Asia Museum into an immersive journey through myth and the immigrant story, Mythical Creatures: The Stories We Carry is sweeping in scale and deeply personal in tone, its narrative written in verse in a voice evocative of a wise elder to a loved one. The exhibition draws approximately 100 objects from USC PAM’s significant collection—which spans more than 5,000 years and includes art from East Asia, South and Southeast Asia, the Himalayas, and the Pacific Islands and their diasporas— blending them with new media technology and works by more than 20 contemporary artists, including several commissions. The result is an interdisciplinary experience in which visitors engage with the past not only through didactic explanation, but through creative activations of pan-Asian mythology that ignite feeling and memory.

    Contemporary artists represented include Dinh Q. Lê, Lily Honglei, Wendy Park, Momoko Schafer, Kyungmi Shin, Sanjay Vora, and Lauren YS.

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    New Korean National Treasures: 2,000 Years of Art
    Place: Art Institute of Chicago - Chicago, 111 South Michigan Avenue, USA
    Date: Mar 07, 2026 to Jul 05, 2026
    Detail: From 6th-century gilt bronze Buddhist sculpture through Joseon dynasty painting and white porcelain and contemporary paintings of the late 20th century, the works of art in this exhibition demonstrate the artistic legacy produced on the Korean peninsula over millennia.

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    New Buddha and Shiva, Lotus and Dragon: Celebrating 70 Years of Asia Society and the Rockefeller Legacy
    Place: Asia Society - New York, 725 Park Avenue, USA
    Date: Mar 18, 2026 to Jan 03, 2027
    Detail: In celebration of Asia Society’s 70th anniversary, Asia Society Museum presents Buddha and Shiva, Lotus and Dragon: Celebrating 70 Years of Asia Society and the Rockefeller Legacy.

    Displaying seventy of the finest examples of Asian art in the United States drawn from Asia Society’s permanent collection, the exhibition showcases the extraordinary range of bronzes, ceramics, and metalwork thoughtfully assembled between the 1950s and the 1970s by John D. Rockefeller 3rd (1906-1978) and his wife Blanchette Hooker Rockefeller (1909-1992). John D. Rockefeller 3rd founded Asia Society in 1956 with the mission to promote greater knowledge of Asia in the United States; the bequest of the collection to Asia Society in 1979 underscores the Rockefellers’ conviction that an aesthetic encounter with great works of art promotes deep cross-cultural understanding.

    With highlights including spectacular Buddhist and Hindu sculptures, and rare Chinese, Korean, and Japanese ceramics, Buddha and Shiva, Lotus and Dragon celebrates historic achievements in Asian art spanning more than two millennia. The exhibition foregrounds the transformative power of faith and the catalyzing potential of international trade in the creation of great works of art across Asia.

    Buddha and Shiva, Lotus and Dragon presents a special opportunity for museum visitors to experience the unparalleled quality of the Mr. and Mrs. John D. Rockefeller 3rd Collection at its home at Asia Society Museum in New York City.

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    New Into the Waters with Senju and Bingyi: Two Contemporary Paintings
    Place: Smithsonian Institution, Arthur M. Sackler Gallery | Galleries 25 - Washington, 1050 Independence Ave. SW, USA
    Date: Apr 02, 2026 to Aug 23, 2026
    Detail: Water is more than subject or inspiration for contemporary artists Hiroshi Senju and Bingyi—it’s a method, a material, and a philosophy. Be among the first to see their paintings, which offer two distinct, hypnotic visualizations of water.

    Senju and Bingyi reimagine their cultures’ rich artistic traditions with their own bold experiments. Senju reconfigures traditional Japanese painting with contemporary techniques and abstracts real waterfalls into idealized images. Often painting outdoors, Bingyi intuitively channels raw nature but also pulls on historical Chinese ink painting and philosophy. This exhibition puts the artists’ two paintings in context with their unique methods, influences, and ethos.

    Across three hanging scrolls, Bingyi’s painting bears layers of splashed ink, the sea breeze’s effects, and careful brushwork that conjures a whorl of water and petals. Senju’s folding screens recall the dripping ceramic glazes and waterfall prints in our museum’s collections. By evoking water’s essence, these artists call us to ask: How is nature both permanent and vulnerable? How does water nurture and also destroy? What beauty and mystery can we find in the very resources we rely on? And what happens when we abandon the line between artist and environment?

    Step into the gallery and feel the power and beauty of water.

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    New Of the Hills: Pahari Paintings from India’s Himalayan Kingdoms
    Place: Smithsonian Institution, Arthur M. Sackler Gallery | Galleries 23 - Washington, 1050 Independence Ave. SW, USA
    Date: Apr 18, 2026 to Jul 26, 2026
    Detail: The tallest mountains on earth rise from the plains of northern India in a series of steep hills, snowy peaks, and narrow valleys. From the same Himalayan region arose some of the world’s most beautiful—yet least understood—works of art.

    Discover the extraordinary beauty and unique history of paintings made for Hindu kings in India’s Pahari (hill) region between the 1620s and 1830s. Pahari artists worked in radically different styles ranging from lyrical and naturalistic to boldly colored and abstracted. Of the Hills: Pahari Paintings from India’s Himalayan Kingdoms illuminates new scholarship on the collaborative artist communities in which most painters worked. Learn about the political, cultural, and religious contexts of these forty-eight exquisite works, and look closely to enter a world of fine detail that delights and astounds.

    Of the Hills celebrates the remarkable collection of Pahari paintings the museum acquired from renowned art historian Catherine Glynn Benkaim and Ralph Benkaim. Some of these artworks have never been exhibited publicly before. We’ve brought these rare pieces into conversation with our historic collections and paintings on loan from the Cleveland Museum of Art.

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    New Painted Prayers: The Japanese Folk Art Tradition of Ema
    Place: Mingei International Museum - San Diego, Balboa Park, 1439 El Prado, California, USA
    Date: Oct 10, 2026 to Apr 04, 2027
    Detail: Painted Prayers: The Japanese Folk Art Tradition of Ema exhibition highlights one of Japan’s most fascinating folk painting traditions, ema – house-shaped wooden votive plaques offered as prayers in Japan’s Shinto shrines and Buddhist temples. Most ema are small and traditionally feature hand-painted imagery of deities, animals, or objects, representing wishes as general as good fortune for the coming year or as specific as the removal of warts. The objects are overflowing with color, hope, and humor, including some very surprising visual puns. For centuries, worshippers have inscribed these ema with impassioned prayers and hung them up on wooden stands outside shrine and temple halls, hoping that the gods will read them and grant their wishes before the end of the year, when the plaques are ritually burned. Painted Prayers: The Japanese Folk Art Tradition of Ema will present the history of this religious painting tradition, explain the different uses of large and small ema, and introduce the many different categories of images and the prayers associated with each of them. Curated by Japanese art historian Meher McArthur, this will be the first museum exhibition in the United States to present such an extensive and varied display of ema, both large and small, ranging from the 18th century to the present day.

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    New Dimensions: Contemporary Chinese Studio Crafts
    Place: V&A South Kensington - London, Cromwell Road, United Kingdom
    Date: Oct 28, 2025 to Sep 27, 2026
    Detail: In the 1980s, Chinese artists began to reimagine craft as a medium for artistic expression. This display explores the dimensions of studio craft practice in China today, and the innovations which have grown from China's longstanding craft tradition.

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    New Engage with history through art at Temple, National Gallery Singapore’s first rooftop installation integrating kinetic motion and sound
    Place: National Gallery Singapore - Singapore, 1 St Andrew's Road, Singapore 178957, Singapore
    Date: Oct 25, 2025 to Oct 11, 2026
    Detail: Ng Teng Fong Roof Garden Gallery, Level 5

    Embark on a meditative experience at Temple, a new participatory artwork by Vietnamese-American artist Tuan Andrew Nguyen. Commissioned by National Gallery Singapore for its Ng Teng Fong Roof Garden Commission series and presented as part of Singapore Biennale 2025: pure intention, Temple invites visitors to reflect on history and contemplate the impact of war through a multisensorial experience that blends kinetic motion and sound – underscoring the Gallery's mission to connect the art of Singapore and Southeast Asia to the world and foster critical dialogue on global issues through art.


    Featuring bells and mobiles crafted from recovered and defused unexploded ordnance (UXO) from the Vietnam War, visitors are encouraged to strike the defused shells, gongs, and chimes, creating a meditative soundscape. Through this transformation of weapons of war into instruments of peace, Nguyen inspires ideas of karmic balance, reincarnation, and the memories embedded within materials, offering a powerful lens for healing and reconciliation.


    Temple is the eighth edition of the Ng Teng Fong Roof Garden Commission.

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    New Elia Nurvista and Bagus Pandega: Nafasan Bumi ~ An Endless Harvest
    Place: Singapore Art Museum at Tanjong Pagar Distripark - Singapore, 39 Keppel Road, Singapore 089065, Singapore
    Date: Jan 16, 2026 to May 31, 2026
    Detail: Artists Elia Nurvista and Bagus Pandega explore how the demands of a relentless extraction, from plantations to electric futures, cast a shadow on the very "breath of the Earth."



    Elia Nurvista and Bagus Pandega: Nafasan Bumi ~ An Endless Harvest imagines the afterlives of materials that persist long after their use, outlasting our time in this age of excess. Plantations, mining sites, and the promise of electric vehicle technologies become places where the stories of tomorrow are formed, bound by Indonesia’s extractive economies whose resources sustain the pulse of today’s global demand.

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    New Momentary Pulses: Art in the Central Business District
    Place: Various sites across Singapore’s CBD (from Raffles Place to Tanjong Pagar) - Singapore, Singapore
    Date: Jan 30, 2026 to Dec 31, 2027
    Detail: Date: 30 January 2026 – 31 December 2027
    Venue: Various sites across Singapore’s CBD (from Raffles Place to Tanjong Pagar)
    Admission: Free

    Presented by The Everyday Museum (a public art initiative by Singapore Art Museum), Momentary Pulses is a public art trail that invites you to slow down and encounter art in the daily flow of life. Spanning overlooked and interstitial public spaces like linkways, open plazas and MRT passages, seven newly commissioned installations by Singapore based artists respond to the sights, sounds and commercial pulse of the Central Business District (CBD) — turning routine journeys into moments of reflection and imagination.

    Featuring works by Song-Ming Ang, Finbarr Fallon, Catherine Hu, Zul Mahmod, collaborative duo Teow Yue Han and Federico Ruberto, Yang Jie and Immanuel Koh, the trail reveals the textures and histories embedded within Singapore’s urban core. The works will be launched in two phases, with the first phase featuring five installations by Song-Ming Ang, Finbarr Fallon, Catherine Hu, Zul Mahmod, and the collaborative duo Teow Yue Han and Federico Ruberto. The remaining two works by Yang Jie and Immanuel Koh will be introduced in the later part of 2026. Each installation is sited within walking distance in the CBD, including stops near OUE Link (Raffles Place), One Raffles Quay (North Tower), Asia Square (Tower 1), Shenton House, and Tanjong Pagar MRT (Exit G). Look out for kinetic and sound-based installations, AI-driven works, sculptural interventions, and site-specific gestures that reframe how we perceive the city’s everyday infrastructures. Together, these works offer distinct lenses on movement, memory, technology and transformation — encouraging new ways of seeing a district in constant motion.

    As part of the public art trail’s opening, The Everyday Museum launches Story Scape (30 January – 8 February 2026), a festival organised in collaboration with StoryFest. The festival extends the trail through exciting storytelling performances, artist talks and an evening audiovisual experience at RASA Space. Programme details will be announced on SAM’s channels.

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    New Asia Week New York
    Place: Throughout metropolitan New York - New York, USA
    Date: Mar 19, 2026 to Mar 27, 2026
    Detail: Asia Week New York has grown from an annual nine-day celebration of Asian art across metropolitan New York into a dynamic year-round platform. Showcasing continuous exhibitions, auctions and special events presented by leading international Asian art specialists, major auction houses, and world-renowned museums and cultural institutions, it keeps Asian art at the forefront for a global audience.

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    New Heated Colors, Hammered Forms: Female Metal Artists of Japan
    Place: Onishi Gallery - New York, 16 East 79th Street, USA
    Date: Jan 13, 2026 to Feb 27, 2026
    Detail: Heated Colors, Hammered Forms: Female Metal Artists of Japan, turns the spotlight onto the contribution made by women to an aspect of kogei that was formerly a male preserve, closely associated with the world of the samurai. Although metals are especially hard to handle, shape, and decorate, the five featured artists have each devoted a lifetime to the medium, using it produce masterpieces that are every bit as expressive and beautiful as work in less obstinate materials such as clay or textile.

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    New Chiang Yomei: Moon on the Water
    Place: Alisan Fine Arts - New York, 120 East 65th Street, USA
    Date: Jan 15, 2026 to Mar 07, 2026
    Detail: “So I say this to you – this is how to contemplate our conditioned existence in this fleeting world: Like a drop of dew, or a bubble in a stream; like a flash of lightning in a summer cloud, or a flickering lamp, an illusion, a phantom, or a dream. So is all conditioned existence to be seen. Thus spoke Buddha.” -The Diamond Sutra

    Moon on the Water is Chiang Yomei’s first solo exhibition in the US. Born in Taiwan and based in London since 1981, Yomei is a multidisciplinary artist whose work is deeply influenced by the philosophy and psychology behind Buddhist thought. We will feature two ongoing bodies of work by the artist: her Lotus and Waking Dream series.

    Yomei’s Waking Dream series centers on a circular moon-like form, repeated and sometimes elongated and fragmented, painted using acrylic on canvas. According to the artist, “Because all compounded phenomena are conditioned and eventually fall apart, nothing has a solid, unchanging existence. So everything is really an illusion: like an image in the mirror, a moon on the water. The Moon on the Water is a meditation on impermanence.”

    The circular form has many meanings in Buddhist thought: it represents non-duality; a constant flow of energy, and is symbolic of the cyclical, creative and infinite nature of the universe and of life. To Yomei, her circles emphasize that phenomena are neither created nor destroyed (不生不滅). That all things are interdependent and do not have an independent existence, being empty in nature. Her work Unborn and Unceasing embodies this philosophy, with its vibrant, undulating red surface painted using sand, incense ash and oil on canvas.

    Alongside her works on canvas is a selection of works on paper from her Lotus series. Here, she uses traditional Chinese ink, sea salt, pencil & acrylic. Spontaneity and uncertainty are key elements to her artistic approach; she embraces the idea of chance and impermanence, much like Dadaists did in the mid-20th century, who were also influenced by Buddhist philosophy. In Buddhism, the Lotus symbolises purity, enlightenment and non-attachment. The Lotus plant roots in mud (symbolizing attachment); its bloom above the water represents non-attachment.

    “The Lotus represents the journey towards enlightenment, from root to bloom, a metaphor for different stages of development. For me, the whole lotus represents the practitioner, the path. The works Story of the Lotus and Dream of the Lotus express my own process as a practitioner through ink and brush, a meditation on impermanence.” – Chiang Yomei, 2025

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    New Cui Fei: Vermicular Calligraphy
    Place: Alisan Fine Arts - New York, 120 East 65th Street, USA
    Date: Jan 15, 2026 to Mar 07, 2026
    Detail: Born in Jinan, Cui Fei studied at both the China Academy of Fine Arts and Indiana University of Pennsylvania, where she received her MFA. Based in New York since 1996, she has exhibited extensively across the globe, and is best known for her artworks that use natural materials such as thorns, vines and seeds.

    Vermicular Calligraphy will debut a new body of work by the artist, one that she has been developing for several years. According to the artist, “This series is a further exploration of the asemic writing found in nature. While out collecting plant materials, I was intrigued by the markings carved by beetles on tree trunks and how much some of these patterns resemble Chinese calligraphy. Through my research, I discovered that bark beetles have long been part of the ecosystem. They attack weak or sick trees to make room for new growth. Unfortunately, climate change has turned this natural process into a man-made disaster.”

    The discovery led to a new body of work by Cui, in which she uses ink rubbings to capture the patterns carved by the bark beetles, and later transfers them into lead sculptures that she calls ‘Sheaths’. This exhibition focuses on the ink rubbings, the first part of her process, which has resulted in paper relief artworks. The paper rubbings take on a three-dimensional form – in essence, they are delicate molds of the tree trunks where bark beetles left their natural markings. Mimicking the path of the beetles, Cui has also created an installation for the exhibition, with fragments of ‘bark’ that horizontally traverse one wall of the gallery. As always, she brings the natural world into dialogue with human culture. Language and writing—symbols imbued with meaning—form the basis of human society, and Cui finds parallels to writing systems throughout the natural world. Through her work, she reminds us of the delicate balance between humans and nature.

    “Through the ink rubbings, I trace ‘writing’ back to its origin—nature, emphasizing its importance to our civilization. These works serve as a metaphor that transformative changes are urgently needed for a sustainable future.” – Cui Fei, 2025

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    New Yufu Shohaku: New Works
    Place: TAI Modern - Santa Fe, 1601 Paseo de Peralta, New Mexico, USA
    Date: Jan 30, 2026 to Feb 28, 2026
    Detail: TAI Modern is pleased to present an exhibition of new works by master Japanese bamboo artist Yufu Shohaku. This exhibition features recent baskets that demonstrate the artist's continued exploration of his signature "dragon pattern" technique and his deep engagement with Japanese mythology and natural forms.

    Now in his eighties, Yufu remains one of bamboo art's most distinctive and commanding voices. He is recognized for his bold, rough-plaited baskets created from bamboo branches, roots, and large chunks of half-split bamboo. His works are characterized by their vigorous energy, varied surfaces, and robust sculptural presence.

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    New Kaku: Spiral Rhythm
    Place: Ippodo Gallery - New York, 35 N Moore Street, USA
    Date: Feb 05, 2026 to Feb 28, 2026
    Detail: We are pleased to present Spiral Rhythm, the first solo exhibition of acclaimed Japanese artist KAKU at the gallery. More than a dozen works of paper and three-dimensional wall sculptures, composed from tens of thousands of hand-wrapped washi paper spirals, are on view from February 5 to February 28, 2026. KAKU meditates on the significance of washi paper as an integral element in Japanese culture, particularly as it evokes qualities of warmth, innocence, and quiet in everyday life. The essence of washi offers a material intelligence that refreshes the soul.

    KAKU (b. 1950) began the extraordinary journey into washi in 1980s Japan when he voluntarily made the decision to withdraw from a thriving commercial career in design. The roots of what became his spiral designs developed over fifteen years of near-isolation in Budapest, Hungary as he recovered from a fast-paced culture that had created burnout: “The spiral pieces emerge from my hands as naturally as breathing, as if a spider were spinning its thread from deep within me,” the artist reflects. “The spiral feels to me like a fragment of life itself.”

    Central to his unique technique is the meticulous hand-wrapping of each spiral, working from the core outward: washi paper is coiled repeatedly around special wires. KAKU arranges the individual paper coils into expansive compositions where each component becomes inextricable from the whole. To create these spirals is a form of meditation, an invitation to join in a collective serenity. There is a simple and profound meaning to the natural white character of washi and organic forms which recall leaves, shells, and other biological formations. It is a visual language shared by Ippodo Gallery: references to nature which transcend cultural and aesthetic boundaries.

    KAKU is a contemporary artist adored and collected by art connoisseurs, major collectors, interior designers, and architects since Ippodo Gallery first debuted his work in New York. His work has been exhibited extensively in Japan, Poland, and the United States.

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    New Mother
    Place: Seizan Gallery - New York, 525 West 26th Street, USA
    Date: Feb 12, 2026 to Mar 14, 2026
    Detail: SEIZAN Gallery is pleased to present MOTHER, a group exhibition featuring works by Marina Berio, Yukiko Hata, Eri Iwasaki, Miné Okubo, and Asako Tabata. On view from February 12 through March 14, the exhibition brings together major work by artists who have been pursuing the enduring subject of motherhood—both directly and indirectly—through their distinct perspectives and medium of choice. Together, their works offer nuanced and refreshing interpretations of this historically resonant theme.

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    New Genealogies of Time: Korean Modern and Contemporary Art
    Place: Space 776 - New York, 37-39 Clinton Street, USA
    Date: Mar 06, 2026 to Mar 31, 2026
    Detail: On Asia Week New York 2026, we are pleased to present Genealogies of Time: Korean Modern and Contemporary Art, an exhibition that examines the present condition of South Korean contemporary art through the coexistence of multiple temporal layers. Rather than following a chronological narrative, the exhibition brings together works from different generations to reveal how artistic questions persist, shift, and reemerge over time.

    The exhibition foregrounds the practices of Jeoung Keun Chan (b. 1965, South Korea), Hyeongsoo Kim (b. 1961, South Korea), and Hak Il Kim (b. 1965, South Korea). Working across distinct formal and conceptual approaches, these artists articulate current positions within South Korean contemporary art, engaging with enduring concerns related to form, materiality, perception, and structure. Their works reflect how inherited artistic sensibilities are tested and reconfigured under present-day conditions.

    Alongside these contemporary practices, works by Kim Guiline (1936–2021, South Korea) are presented to expand the exhibition’s temporal scope. Shown in proximity to contemporary works, his paintings allow different moments in South Korean art history to be viewed together, emphasizing continuity and transformation rather than linear progression.

    Genealogies of Time presents South Korean modern and contemporary art as an evolving field shaped by accumulated experience, reinterpretation, and ongoing inquiry. Through the juxtaposition of works across generations, the exhibition offers a focused view of how contemporary practice appears from layered historical conditions while remaining firmly grounded in the present.

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    New The Breath of Time, The Song of Dust
    Place: Space 776 - New York, 37-39 Clinton Street, USA
    Date: Mar 06, 2026 to Mar 31, 2026
    Detail: We’re thrilled to announce The Breath of Time, The Song of Dust, our Asia Week New York exhibition featuring the works of Song E Yoon and Freeman, on view from March 6 to March 31. The exhibition brings together two distinct temporal voices — one from the late Joseon period and another from the present — to explore the subtle continuity between disappearance and presence, memory and light, silence, and resonance.

    As its title suggests, The Breath of Time, The Song of Dust unfolds where the remnants of the past meet the pulse of the living moment. Song E Yoon’s practice visualizes the invisible structure of time — the breath, vibration, and energy that weave through existence. Her works capture what lingers after form dissolves: the trace of an event, the rhythm of what remains. Through light, transparency, and vibration, Song translates the intangible into sensory form, transforming stillness into movement and silence into a living pulse. Time in her world does not progress in a straight line but circulates, folding back into itself, allowing the breath of the past to reawaken in the present. Freeman’s works, drawn from the late Joseon era, embody a philosophy of emptiness and vitality — the rhythm of stillness, the harmony between humanity and nature. Even across centuries, they keep a quiet warmth, as if time itself continues to breathe through them. When placed in conversation with Song’s luminous structures, a new resonance appears: Freeman’s ink becomes light, and Song’s light takes on the depth of ink. The two artists, separated by time yet connected by intuition, mirror each other within a shared field of silence. Rather than contrasting past and present, The Breath of Time, The Song of Dust reveals the invisible current that connects them. The works intertwine like reflections in a single mirror, and time itself becomes circular — never lost, only transformed. The spirit of Joseon flows again through light, while light, like dust, drifts back into the shadow of history. In this exchange, art becomes a living continuum, breathing between what has vanished and what endures.

    The exhibition is a meditation on faith in time.

    Time does not vanish; it changes form — into light, into dust, into memory. Through the works of Song E Yoon and Freeman, the unseen becomes perceptible, the forgotten becomes audible. And in that shared rhythm, what has disappeared and what stays come together to sing — the song of time itself, the quiet breath of dust.

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    New Kawai Kanjirō: House to House
    Place: Japan Society - New York, 333 East 47th Street, USA
    Date: Mar 10, 2026 to May 10, 2026
    Detail: In spring 2026, Japan Society Gallery will present Kawai Kanjirō: House to House, an exhibition celebrating the remarkable life and artistic career of folk potter and avant-garde artist Kawai Kanjirō (1890–1966) for the first time in the United States. Along with his friends philosopher Yanagi Sōetsu (1889–1961) and potter Hamada Shōji (1894–1978), Kawai founded the mingei folk art movement in Japan during the mid-1920s. Featuring works from the Kawai Kanjirō Memorial Museum (and former home of Kawai) in conversation with works of folk art from Japan Society’s collection, the exhibition traces the evolution of the artist’s functional clay ware to his modernist wood sculptures. From Kawai Kanjirō’s house in Kyoto to Japan House in NYC, the exhibition explores Kawai’s profound impact on postwar art in Japan.

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    New Classical Indian Paintings and Courtly Objects
    Place: Art Passages - New York, 115 East 72nd Street, #1B, USA
    Date: Mar 19, 2026 to Mar 25, 2026
    Detail: March 19–25, 2026
    Exhibiting at: 115 East 72nd Street, #1B
    Opening Reception: Thursday March 19, 5-8pm
    Asia Week Hours: March 19–25, 10am-6pm

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    New Luminaries, Myth and Fantasy in Indian and Persian Painting
    Place: Oliver Forge and Brendan Lynch Ltd. - New York, 67 East 80 Street, USA
    Date: Mar 19, 2026 to Mar 27, 2026

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    New Ceramic Modernisms
    Place: Dai Ichi Arts, Ltd. - New York, 18 East 64th Street, USA
    Date: Mar 19, 2026 to Mar 27, 2026

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    New Objects of Veneration: Buddhist Art from India and the Himalayas
    Place: Carlton Rochell Asian Art @ Adam Williams Fine Art - New York, 24 East 80th Street, USA
    Date: Mar 19, 2026 to Mar 27, 2026
    Detail: Exhibiting at: Adam Williams Fine Art, 24 East 80th Street
    Asia Week Hours: March 19-20 & 23-27, 10am-6pm; March 21-22, 11am-5pm (otherwise by appointment)

    We are delighted to be participating Asia Week New York again this year, presenting an exhibition showcasing centuries of Himalayan and Indian artistic achievement.

    Highlights of our exhibition include:

    A finely-carved relief panel depicting Maitreya in Tushita Heaven, circa 3rd century, which exemplifies the sophisticated synthesis of Indic religious iconography with Hellenistic sculptural naturalism that defines Gandharan art.

    A luminous gilt-copper alloy sculpture of the goddess Vasudhara, 12th/13th century, from the Zimmerman Collection and published in Dr. Pratapaditya Pal’s 1991 exhibition catalog, Art of the Himalayas: Treasures from Nepal and Tibet. Her sensuous modeling, delicate surface chasing, and refined gilding exemplify the extraordinary achievements of Newar metalworkers.

    A painting of Six-Armed Mahakala and his Attendants, from Central Tibet, late seventeenth century, formerly in the collections of Giuseppe Tucci, Alice and Nasli Heeramaneck, and Christian Humann (the Pan-Asian Collection), which has been described by scholars as: “a masterpiece of the mystical black tangkas.”

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    New Fine Japanese & Korean Art
    Place: Bonhams - New York, 111 W 57th Street, USA
    Date: Mar 25, 2026

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    New Looking East from Fifth Avenue: Chinese Porcelain at The Frick Collection
    Place: The Frick Collection - New York, 1 East 70th Street, USA
    Date: Mar 20, 2026
    Detail: Friday, March 20, 2026 at 6pm
    Stephen A. Schwarzman Auditorium
    Free of Admission

    Join Yifu Liu, Anne L. Poulet Curatorial Fellow, for an illuminating lecture exploring the evolution of Chinese porcelain at The Frick Collection—from Henry Clay Frick’s earliest acquisitions to the museum’s most recent additions. It examines the cultural significance of these objects in the early twentieth century and re-evaluates their relevance today within an American art institution traditionally celebrated for its European works of art.

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