{"id":1849336,"date":"2026-03-26T18:38:32","date_gmt":"2026-03-26T15:38:32","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1849336"},"modified":"2026-03-26T18:38:32","modified_gmt":"2026-03-26T15:38:32","slug":"art-basel-hong-kong-2026-best-booths","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1849336","title":{"rendered":"Art Basel Hong Kong 2026: Best Booths"},"content":{"rendered":"
\n\tSore feet, lean pockets, sustainability woes\u2014what\u2019s\u00a0a 21st-century art fair\u00a0really good\u00a0for, some might wonder? Surpassing the skepticism, this edition of Art Basel Hong Kong offered a compelling glimpse at the talent flourishing across Asia. Sure, Pace Gallery\u2019s Modigliani made the early headlines\u2014but by our reckoning, the fair belonged to Asia\u2019s modern masters and its next generation of stars, some who sorely deserve their spotlight.\u00a0\u00a0<\/p>\n
\n\tBright spots abounded in the curated sectors, with especially strong showings from\u00a0Discoveries\u00a0and\u00a0Insights, respectively dedicated to emerging artists and thematic presentations. With a simple sheet and smart lighting, Ho Chi Minh\u2019s\u00a0Vin Gallery\u00a0staged a shadow-puppet display of ceramic skeletons by Japanese sculptor\u00a0Ako Goto. Elsewhere, local outfit\u00a0Lucie Chang Fine Arts\u00a0made a compelling case for the canonization of the late Chinese painter\u00a0Zhu Xinjian, whose traditional ink drawings shock with atypically salacious subject matter.<\/p>\n
\n\tgdm, the Hong Kong-based gallery founded by Fred Scholle in 1974, offered one of the best pairings of established and ascendant artists:\u00a0Kongkee\u2019s\u00a0seated figure in a lightbox, revealing a second face when viewed from the side, alongside a suite of abstract paintings by\u00a0Tang Chang, a visionary of Thailand\u2019s modern art scene. Surely, visitors couldn\u2019t have missed another\u00a0Kongkee\u00a0work in\u00a0Encounters: the monumental neon sign reading\u00a0\u201cPrice \/ Value\u201d<\/em>\u2014unless they arrived after the artist had smashed its filaments. Nothing lasts forever\u2014except, perhaps, the memory of this electric spread.<\/p>\n
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Blindspot Gallery, Hong Kong<\/h2>\n\n\t\t\t\t\tImage Credit: Tessa Solomon\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\tStateless,\u00a0exoticized, confined to diaspora\u2014the artists in Blindspot\u2019s presentation probe questions of belonging in a China adrift from its people. Any one of these artist could sustain a solo exhibition: the presentation includes recent works by Lap-See Lam and Trevor Yeung, coinciding with their respective solo shows elsewhere in Hong Kong. Together, they form a compelling meditation on identity amid a shifting world order, where consumerist desires have curdled into disillusionment, and socio-political forces have propelled generations into migration.\u00a0Zhang\u00a0Wenzhi, from Dalian in China\u2019s Liaoning Province, presents stunning collage-like ink paintings where Chinese modern history collides with folkloric creatures\u2014remnants of a magic vanished under urban sprawl.\u00a0Nearby, the blazingly talented Cheung Tsz Hin puts his mindscape on canvas in paintings that read like photo negatives: neon visions of his now-unincorporated hometown, scrubbed from the map.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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PTT Space, Taipei<\/h2>\n\n\t\t\t\t\tImage Credit: Tessa Solomon\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\t\u201cIn the Atayal folk tale of\u00a0Temahahaoi, a reclusive group of women once lived deep within the mountains of Taiwan\u201d\u2014so begins\u00a0Kindom<\/em>,\u00a0Ciwas\u00a0Tahos\u2019s\u00a0speculative installation at PTT Space. Developed in close collaboration with curator Alfonse Chiu, the project takes the Atayal fable as its point of entry into a broader inquiry into queer alternatives to heteronormative lifestyles predicated on the exploitation of nature.\u00a0The artistic team traveled into Taiwan\u2019s mountain ranges, tracing the story\u2019s terrain as part of\u00a0Tahos\u2019s\u00a0ongoing body of work,\u00a0Finding Pathways to\u00a0Temahahaoi<\/em>, which encompasses the two-channel video installation\u00a0Perhaps, She Comes From\/To_Alang<\/em>\u00a0(2020); a large cloth map charting the routes and fragments of oral history embedded in\u00a0Temahahaoi; and a wall-mounted sculptural installation of functional ocarinas. The project has previously been staged in major institutional contexts, including the latest Sharjah Biennial; in Hong Kong, it folds neatly into the broader narrative of discovery and dislocation woven throughout the fair.\u00a0\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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P.P.O.W. Gallery, New York<\/h2>\n\n\t\t\t\t\tImage Credit: Tessa Solomon\/ARTnews\t\t\t\t<\/figcaption><\/figure>\n
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\n\tThere\u2019s\u00a0much to admire at P.P.O.W. Gallery this year, from some terrific Martin Wong paintings tucked in the corner to the gallery\u2019s rightful foregrounding of a disquieting installation by the late Vietnamese\u2011American multimedia artist Dinh Q. L\u00ea. Titled\u00a0Damaged Gene\u00a0<\/em>(1998), the work mimics a clothing kiosk filled with children\u2019s garments and baby dolls\u2014 but a closer look reveals two-headed toys and missing sleeves, alluding to the insidious legacy of chemical warfare during the Vietnam War, particularly the use of Agent Orange. Presented in the fair\u2019s Kabinett sector,\u00a0Damaged Gene\u00a0<\/em>cuts through the commercial excess with a sober dose of reality.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\n\tAnyone looking for an overdue history of Nepalese art should visit\u00a0Tansbao\u2019s\u00a0booth, dedicated this year to Lain Singh\u00a0Bangdel. One of Nepal\u2019s most influential painters, novelists, and art historians.\u00a0Bangdel\u00a0(1919\u20132002), regarded as the \u201cfather of modern art\u201d in the country, Bangdel grafted a Western visual lexicon onto South Asian sensibilities.\u00a0The subjects of two works on view here, for\u00a0example\u2014a despondent figure and a gossiping pair, washed in sickly greens and blues\u2014would have much to commiserate over with Edvard Munch\u2019s cast of actors.\u00a0But these are only fleeting likenesses;\u00a0Bangdel\u2019s\u00a0vision is entirely his own, perfectly aligning with Art Basel Hong Kong\u2019s stated mission of expanding the platform for regional artists, both emerging and historical.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\n\tCyberpunk meets magical girl in\u00a0Ornament Survival<\/em>, Emi Kusano\u2019s new installation at \u221aK Contemporary. A fitting entry in the digital\u00a0sector\u00a0Zero10, Kusano uses generative AI to multiply her own image, sending these infinite copies through a cascade of vignettes that veer too close to techno-dystopia to be cute, yet remain too\u00a0hypercharged\u00a0for despair. In one, she sprouts wings while attended by nurses\u2014all bearing her face. With a twist of her limbs, the operating room becomes a cockpit, and she (and she and she\u00a0and\u2014) reappears as a flight attendant. In the twenty-first century, self-optimization is a demand for success; but in the thirty-first, where Kusano\u00a0seemingly operates, will there be any\u00a0self left?\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
\n\tHong Kong\u2019s \u201cEast-meets-West\u201d mantra meets deft curation in a striking matchup of works by\u00a0Kimsooja, Bosco Sodi\u2014who has just wrapped a landmark solo show at the He Art Museum in Guangdong, China\u2014and Zoran Mu\u0161i\u010d. Presented in Art Basel\u2019s\u00a0Kabinett sector, which is dedicated to thematic curated presentations, the booth features Mu\u0161i\u010d\u2019s haunting paper transmutations of his imprisonment in the Dachau concentration camp. Made decades after his liberation, these crumbling figures speak of memories too heinous to be captured in language, managing resonance only in art.\u00a0Another booth standout:\u00a0Jaffa Lam\u2019s \u201cWindbreak\u201d series, which\u00a0just made its debut\u00a0at the\u00a0ongoing\u00a0Shanghai Biennale.\u00a0According to interviews with Lam,\u00a0the ceramics\u00a0take inspiration from traditional building techniques in Shanghai.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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De Sarthe, Hong Kong<\/h2>\n\n\t\t\t\t\tImage Credit: Courtesy De Sarthe\t\t\t\t<\/figcaption><\/figure>\n
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\n\tThe veteran Hong Kong gallery returns with its signature curatorial nimbleness. The booth is anchored by an intergenerational dialogue between four Asian and diaspora artists\u2014Chan Ka Kiu, Lov-Lov, Caison Wang, and Zhong Wei\u2014whose work probes different epochs of technology, most urgently artificial intelligence. The presentation spills\u00a0into\u00a0Kabinett\u00a0with work by seminal French conceptual artist Bernar Venet,\u00a0represented\u00a0here by Corten steel sculptures and a spread of his autonomous charcoal sketches. Timely as well: Venet\u2019s soaring sculpture\u00a0Convergence: 52.5\u00b0 Arc x 14\u00a0(2024) <\/em>was gifted to China last December to commemorate the 60th anniversary of Sino-French diplomatic relations.\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
[analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/abhk2026-2.jpg?w=1024″] Sore feet, lean pockets, sustainability woes\u2014what\u2019s\u00a0a 21st-century art fair\u00a0really good\u00a0for, some might wonder? Surpassing the skepticism, this edition of Art Basel Hong Kong offered a compelling glimpse at the talent flourishing across Asia. Sure, Pace Gallery\u2019s Modigliani made the early headlines\u2014but by our reckoning, the fair belonged to Asia\u2019s modern masters and […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1849336","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1849336","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1849336"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1849336\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1849336"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1849336"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1849336"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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