Work: Chuang Che, As Lofty as a Mountain, 1960

Presenting gallery: Asia Art Center

When Chuang Che painted As Lofty as a Mountain in 1960, he was part of a generation of young artists in Taiwan trying to rethink Chinese painting from the ground up. Alongside other members of the Fifth Moon Group, the Beijing-born painter began bringing Western abstraction into conversation with the traditions of Chinese ink painting and calligraphy. The result sits between landscape and abstraction: Light-wash brushwork and bold strokes hint at mountains without fully describing them.

Work: Udomsak Krisanamis, Tangle Up Tango On, 2025

Presenting gallery: Galerie Chantal Crousel

Thai artist Udomsak Krisanamis has long experimented with unusual materials – everything from newsprint and cellophane to dried noodles. Dense and layered, his paintings and collages are meditations on fragmentation and the sensory overload of urban life. Twisting lines, repeated bands of color, and dark backgrounds, all hallmarks of his practice, are on view in this recent collage on plywood.

Work: I Gusti Ayu Kadek Murniasih, Keduanya Make Me Gila (Both of Them Make Me Crazy), 2003

Presenting gallery: Gajah Gallery

When I Gusti Ayu Kadek Murniasih, better known as Murni, was painting in Bali in the 1990s and early 2000s, her work resembled the traditional Pengosekan style, meaning candy-colored hues and bold outlines against flat backgrounds. But instead of typical scenes of village life, Murni’s canvases were all about sex. Drawn from personal experience, her erotic imagery confronts desire, trauma, and gender politics with unflinching candor. In this work, made three years before her death at 40, two mirrored hands clutch phallic forms against fields of green.

Work: Huang Yuxing, The Underground Heart of Artificial Intelligence, 2024–2026

Presenting gallery: Hive Center for Contemporary Art

In the age of AI, most of us probably imagine data centers as vast, gray warehouses on the horizon. The Beijing-born artist Huang Yuxing digs deeper. His three-meter-wide acrylic painting The Underground Heart of Artificial Intelligence (2024–2026) pictures a subterranean universe where electric hues twist through terraces and channels. Trained in the meticulous gongbi painting tradition, Huang is known for layering and reworking fluorescent paint to push the conventions of landscape painting in unexpected directions.

Work: Lee Bae, Brushstroke Sculpture JV2, 2026

Presenting gallery: Johyun Gallery

From drawings on paper to large-scale public sculptures, much of Lee Bae’s work starts with charcoal, a material he favors for its expressive qualities and cultural significance in Korea. Based between Paris and Seoul, Lee is particularly interested in the symbolic power of a gesture – a flick of the hand fixed flat on a surface. In Brushstroke Sculpture JV2 (2026), he lifts that gesture off the page and into space. The twists of a single stroke are solidified in bronze, its dark surface recalling the charcoal that has long defined his work.

Work: Nalini Malani, Tales of Good and Evil, 2008

Presenting gallery: Galerie Lelong

One of India’s pioneering video artists, Nalini Malani grew up in the shadow of the 1947 partition, when her family was forced to migrate from Karachi to Kolkata. Now in her 80s, themes of displacement, violence, and feminism continue to shape her practice. Across a grid of 12 squares, Malani’s 2008 painting Tales of Good and Evil looks like a mythic dream: Hybrid creatures swirl through pale fields of color as the story moves from one panel to the next. 

Work: Tishan Hsu, skin-screen: revealed (single 3), 2026

Presenting gallery: Lisson Gallery

Long before smartphones, social media, or ChatGPT, the New York-based artist Tishan Hsu suspected that the human body and technology would eventually merge. Since the 1980s, his work has explored that uneasy relationship, combining biomorphic forms with surfaces that resemble digital interfaces. In the multimedia work skin-screen: revealed (single 3) (2026), a fleshy field peels back to reveal a hidden layer, while uncanny cavities and protrusions suggest body parts.

Work: Pipilotti Rist, Sophie, The Enlightened Granddaughter, 2025

Presenting gallery: Luhring Augustine

Made from a women’s swimsuit stretched over a lampshade and adorned with shiny ribbons, Pipilotti Rist’s glowing sculpture Sophie, The Enlightened Granddaughter (2025) looks like it could be a character that wandered out of one of the Swiss artist’s video worlds – colorful, ethereal, and a little bit mischievous. Best known for immersive installations that bathe viewers in light and sound, Rist also often transforms everyday objects into playful, human-like forms.

Work: Haegue Yang, Sonic Fabric over Brass Plated Web, 2015

Presenting gallery: neugerriemschneider

Haegue Yang, one of South Korea’s most celebrated artists, is known for turning everyday industrial materials such as Venetian blinds, drying racks, and metal frames into complex sculptural environments. In Sonic Fabric over Brass Plated Web (2015), hundreds of small brass bells are draped from a metal frame, forming what the title suggests: a shimmering curtain of sound. Mounted on wheels and threaded with cables and bulbs, the sculpture looks as though the slightest breeze might set it ringing.

Work: Ding Yi, Appearance of Crosses 2025-11, 2025

Presenting gallery: ShanghArt

One small shape has kept Ding Yi busy for nearly 40 years: the cross. Inspired by the precision of printing and graphic design in 1980s Shanghai, he began building paintings entirely from small + and × marks repeated across carefully mapped grids. His system may be strict, but the results are anything but mechanical. In Appearance of Crosses 2025-11 (2025), thousands of tiny symbols accumulate into shifting diamonds of color.

Work: Mire Lee, Tentacles for Open Wound (studio prototype), 2025

Presenting gallery: Sprüth Magers

In 2024 and 2025, visitors to the Tate Modern’s cavernous Turbine Hall looked up to see sagging silicone tentacles and oozing pink ‘skins’ dangling from dozens of metal chains. On the ground, a mechanical production line churned out even more dripping membranes. The visceral skin factory was the work of Mire Lee, whose sculptures use industrial materials to explore the tensions between eroticism, vulnerability, and decay. This hanging work intriguingly captures the early stages of her Tate installation.

Work: Sopheap Pich, Stalk 4, 2025

Presenting gallery: Axel Vervoordt

In 2003, when Sopheap Pich packed up his life in the United States and moved back to Cambodia – the country his family fled during the Khmer Rouge regime – he arrived with an MFA and an established painting practice. But once settled, his attention turned to the materials around him in Phnom Penh: bamboo, rattan, burlap, beeswax, and wire. It did not take long before he set down the brush and began making sculptures. Many of Pich’s works look like botanical forms – seeds, pods, fruit – or, in the case of the aluminum and copper work Stalk 4 (2025), a bamboo shoot rising in a tapering arc.