{"id":1939950,"date":"2026-05-14T14:35:19","date_gmt":"2026-05-14T11:35:19","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1939950"},"modified":"2026-05-14T14:35:19","modified_gmt":"2026-05-14T11:35:19","slug":"james-turrell-lifting-the-veil-at-gagosian-hong-kong-brings-five-decades-of-light-art-to-one-of-the-worlds-most-luminous-cities","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1939950","title":{"rendered":"\u201cJames Turrell: Lifting the Veil\u201d at Gagosian Hong Kong Brings Five Decades of Light Art to One of the World&#8217;s Most Luminous Cities"},"content":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F05%2F14%2FtwJames-Turrell-Lifting-the-Veil-Gagosian-Hong-Kong-Exhibit-announcement-Info.jpg?w=1080&amp;cbr=1&amp;q=90&amp;fit=max&#8221;]<\/p>\n<div class=\"col-post-body col\">\n<div class=\"row post-body\">\n<aside class=\"post-body-sidebar\">\n<div class=\"post-body-sidebar-upper\">\n<div class=\"post-body-sidebar-category d-none d-lg-block\">\n<p>    Art\n                                                                                                    <\/p><\/div>\n<div class=\"post-body-sidebar-published d-none d-lg-block\"><time>May 14, 2026<\/time><\/div>\n<ul class=\"post-body-sidebar-hype-comments-container list-unstyled d-none d-lg-block\">\n<li><span class=\"hype-count grey\"><br \/>\n             563<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<\/li>\n<li><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-sm-inline text\">Comments<\/span><\/span>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<\/li>\n<li><span class=\"text\">Save<\/span><\/li>\n<\/ul>\n<div class=\"post-body-sidebar-author d-none d-lg-block\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Sophie Caraan<\/span><\/div>\n<hr class=\"sidebar-divider d-none d-lg-block\">\n<div class=\"post-body-sidebar-credentials d-none d-lg-block\">\n<div class=\"credential\">\n<h6>Editor Assistant<\/h6>\n<p><span>Thu Tran<\/span><\/div>\n<\/div>\n<hr class=\"sidebar-divider d-none d-lg-block\">\n<div class=\"post-body-sidebar-share d-none d-lg-block\">\n<h6>Share this article<\/h6>\n<\/div>\n<\/div>\n<\/aside>\n<article class=\"post-body-article\">\n<div id=\"post-body-top-bar\" class=\"post-body-top-bar d-block d-lg-none\">\n<div class=\"row\">\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Art<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>May 14, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             563<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<div class=\"post-body-content\">\n<p><strong>Summary<\/strong><\/p>\n<ul>\n<li>Gagosian Hong Kong opens \u201cJames Turrell: Lifting the Veil\u201d on May 28, a survey exhibition spanning holograms, prints, three new Glasswork pieces, and documentation of the artist\u2019s Skyspaces and Roden Crater project<\/li>\n<li>The exhibition marks a rare opportunity to encounter Turrell\u2019s practice in Asia, where his philosophical alignment with traditions of emptiness, atmosphere, and perceptual threshold carries particular cultural resonance<\/li>\n<li><em>Lifting the Veil<\/em> runs through August 1 at the Pedder Building in Central<\/li>\n<\/ul>\n<p>James Turrell has spent more than five decades treating light not as a tool but as the thing itself, and on May 28, Gagosian Hong Kong opens \u201cLifting the Veil,\u201d a survey exhibition that brings together holograms, prints, three Glasswork pieces, and documentary material from the artist\u2019s Skyspace and Roden Crater projects. For a city that operates at the scale and luminous intensity of Hong Kong, the timing and location feel less like coincidence and more like an argument.<\/p>\n<p>To understand why a Turrell exhibition in Hong Kong carries particular weight, it helps to start with what Turrell actually does, and what he has been doing since the 1960s. Working initially from a studio in Santa Monica, he began with projections and natural light, progressively developing a practice in which the material is the light itself rather than anything it might illuminate. His own articulation of this is direct: \u201cGenerally, light is used to reveal something about the object. I use light as the revelation itself.\u201d Over five decades, that premise has produced one of the most consistently rigorous bodies of work in contemporary art, from the intimate scale of his early projection pieces to the geological ambition of Roden Crater.\n<\/p>\n<p>Roden Crater remains the reference point against which everything else in Turrell\u2019s practice is measured. Under construction since 1977 in the Painted Desert of Northern Arizona, it is a naked-eye observatory built inside a volcanic cinder cone, designed for the contemplation of light, time, and landscape at a scale that has no real precedent in art history. The exhibition includes site plans, photographs, and models created for the project, offering Hong Kong audiences a rare material encounter with a work that most people will never experience in person. Fundraising to complete and open the crater to the public is ongoing, which gives these documentary works a particular urgency: they are records of something still becoming.\n<\/p>\n<p>The three Glassworks on view \u2014 <em>Resolute<\/em> (2025), <em>Patmos<\/em> (2024), and <em>Of One Mind<\/em> (2024) \u2014 are each installed in dedicated chambers constructed within the gallery. Initiated in 2001, the series uses computer-controlled LED lights behind shaped apertures, an ellipse, a diamond, and a rectangle respectively, to produce slowly shifting fields of color that pulse between center and edge, alternating between impressions of depth and flatness. Installed in sequence, they function as a calibrated progression rather than three separate encounters, guiding the viewer through increasingly refined states of perceptual awareness. They are among Turrell\u2019s most accessible works in the sense that they require nothing from the viewer except attention and time.\n<\/p>\n<p>The holograms, first introduced four decades ago, operate differently. They reflect and transmit light to produce ephemeral forms that appear to float either in front of or behind the picture plane, their apparent color, position, and depth shifting as the viewer moves. In the context of Hong Kong, a city with deep roots in philosophical and aesthetic traditions that privilege emptiness and the threshold between presence and absence, these works carry a resonance that extends well beyond their technical construction. Accompanying them are prints related to <em>Aten Reign<\/em>, the 2013 site-specific installation at the Solomon R. Guggenheim Museum that attracted nearly half a million visitors and became the most attended exhibition in New York that year. The Guggenheim moment established Turrell as something beyond a niche perceptual artist; it confirmed him as a figure capable of stopping a general public in its tracks.\n<\/p>\n<p>That capacity is what makes Lifting the Veil more than a gallery exhibition for committed art viewers. Turrell\u2019s <em>Skyspaces<\/em> \u2014 architectural chambers with ceiling apertures open to the sky \u2014 have been installed in locations ranging from Scotland to Japan, and their effect on visitors with no prior knowledge of his practice is well documented. The models and site plans included in the Hong Kong exhibition give those works a new context, showing the thinking and construction logic behind spaces designed to make the sky feel like an object you could almost touch. For a city built on verticality and defined by its relationship to the sky above, that proposition is not abstract.\n<\/p>\n<p>\u201cJames Turrell: Lifting the Veil\u201d opens May 28 at Gagosian Hong Kong.\n<\/p>\n<p><strong>Gagosian Hong Kong<\/strong><br \/>\n7\/F Pedder Building,<br \/>\n12 Pedder Street, Central<\/p>\n<div class=\"show-article\">\n<p>                                                            Read Full Article<\/p><\/div>\n<\/div>\n<footer>\n<div class=\"related-stories-main-wrapper\">\n<h3>Related Stories<\/h3>\n<div class=\"stories-container\" data-layer-list-name=\"related_stories\" data-layer-list-offset=\"0\" data-layer-list-child-selector=\".story-item\">\n<div class=\"story-item\" data-layer-item-id=\"6720918\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Rei Kawakubo Stages First-Ever Solo Art Fair Presentation in New York\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6646872\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>The Beginning &amp; End of Esther, NYC&#8217;s Coziest Art Fair\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6720934\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Lisa Yuskavage\u2019s Fleshy Femmes Rock David Zwirner New York\n                                                                        <\/div>\n<\/div>\n<\/div>\n<div class=\"article-email-signup-wrapper impression-tracker\">\n<h3>We got you covered. Don\u2019t miss out on the latest news by signing up for our newsletters.<\/h3>\n<div class=\"terms\">By subscribing, you agree to our Terms of Use and Privacy Policy.<\/div>\n<\/div>\n<div class=\"post-body-author d-block d-lg-none\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Sophie Caraan<\/span><\/div>\n<div class=\"post-body-credentials d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<div class=\"credential\">\n<h6>Editor Assistant<\/h6>\n<p><span>Thu Tran<\/span><\/div>\n<\/div>\n<div class=\"post-body-share d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<h6>Share this article<\/h6>\n<\/div>\n<div class=\"post-body-content-tags\">\n<div class=\"body collapsed\">\n<p>    Gagosian Hong KongJames Turrell\n                                                            <\/p><\/div>\n<\/div>\n<\/footer>\n<\/article>\n<\/div>\n<div id=\"post-footer\" class=\"post-footer row\">\n<div class=\"col-shopping-break\">\n<hr>\n<\/div>\n<div class=\"col-comments\">\n<div id=\"comments\" class=\"post-comments none \">\n<header>\n<div class=\"heading\"><span class=\"comment-count\">0<\/span><span>Comments<\/span><\/div>\n<div class=\"comment-dropdown-tooltip\">\n<ul>\n<li>\n<li><\/ul>\n<\/div>\n<\/header>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"row post-body\">\n<aside class=\"post-body-sidebar\">\n<div class=\"post-body-sidebar-upper\">\n<div class=\"post-body-sidebar-category d-none d-lg-block\">\n<p>    Art\n                                                                                                    <\/p><\/div>\n<div class=\"post-body-sidebar-published d-none d-lg-block\"><time>May 14, 2026<\/time><\/div>\n<ul class=\"post-body-sidebar-hype-comments-container list-unstyled d-none d-lg-block\">\n<li><span class=\"hype-count grey\"><br \/>\n             563<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<\/li>\n<li><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-sm-inline text\">Comments<\/span><\/span>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<\/li>\n<li><span class=\"text\">Save<\/span><\/li>\n<\/ul>\n<div class=\"post-body-sidebar-author d-none d-lg-block\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Sophie Caraan<\/span><\/div>\n<hr class=\"sidebar-divider d-none d-lg-block\">\n<div class=\"post-body-sidebar-credentials d-none d-lg-block\">\n<div class=\"credential\">\n<h6>Editor Assistant<\/h6>\n<p><span>Thu Tran<\/span><\/div>\n<\/div>\n<hr class=\"sidebar-divider d-none d-lg-block\">\n<div class=\"post-body-sidebar-share d-none d-lg-block\">\n<h6>Share this article<\/h6>\n<\/div>\n<\/div>\n<\/aside>\n<article class=\"post-body-article\">\n<div id=\"post-body-top-bar\" class=\"post-body-top-bar d-block d-lg-none\">\n<div class=\"row\">\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Art<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>May 14, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             563<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<div class=\"post-body-content\">\n<p><strong>Summary<\/strong><\/p>\n<ul>\n<li>Gagosian Hong Kong opens \u201cJames Turrell: Lifting the Veil\u201d on May 28, a survey exhibition spanning holograms, prints, three new Glasswork pieces, and documentation of the artist\u2019s Skyspaces and Roden Crater project<\/li>\n<li>The exhibition marks a rare opportunity to encounter Turrell\u2019s practice in Asia, where his philosophical alignment with traditions of emptiness, atmosphere, and perceptual threshold carries particular cultural resonance<\/li>\n<li><em>Lifting the Veil<\/em> runs through August 1 at the Pedder Building in Central<\/li>\n<\/ul>\n<p>James Turrell has spent more than five decades treating light not as a tool but as the thing itself, and on May 28, Gagosian Hong Kong opens \u201cLifting the Veil,\u201d a survey exhibition that brings together holograms, prints, three Glasswork pieces, and documentary material from the artist\u2019s Skyspace and Roden Crater projects. For a city that operates at the scale and luminous intensity of Hong Kong, the timing and location feel less like coincidence and more like an argument.<\/p>\n<p>To understand why a Turrell exhibition in Hong Kong carries particular weight, it helps to start with what Turrell actually does, and what he has been doing since the 1960s. Working initially from a studio in Santa Monica, he began with projections and natural light, progressively developing a practice in which the material is the light itself rather than anything it might illuminate. His own articulation of this is direct: \u201cGenerally, light is used to reveal something about the object. I use light as the revelation itself.\u201d Over five decades, that premise has produced one of the most consistently rigorous bodies of work in contemporary art, from the intimate scale of his early projection pieces to the geological ambition of Roden Crater.\n<\/p>\n<p>Roden Crater remains the reference point against which everything else in Turrell\u2019s practice is measured. Under construction since 1977 in the Painted Desert of Northern Arizona, it is a naked-eye observatory built inside a volcanic cinder cone, designed for the contemplation of light, time, and landscape at a scale that has no real precedent in art history. The exhibition includes site plans, photographs, and models created for the project, offering Hong Kong audiences a rare material encounter with a work that most people will never experience in person. Fundraising to complete and open the crater to the public is ongoing, which gives these documentary works a particular urgency: they are records of something still becoming.\n<\/p>\n<p>The three Glassworks on view \u2014 <em>Resolute<\/em> (2025), <em>Patmos<\/em> (2024), and <em>Of One Mind<\/em> (2024) \u2014 are each installed in dedicated chambers constructed within the gallery. Initiated in 2001, the series uses computer-controlled LED lights behind shaped apertures, an ellipse, a diamond, and a rectangle respectively, to produce slowly shifting fields of color that pulse between center and edge, alternating between impressions of depth and flatness. Installed in sequence, they function as a calibrated progression rather than three separate encounters, guiding the viewer through increasingly refined states of perceptual awareness. They are among Turrell\u2019s most accessible works in the sense that they require nothing from the viewer except attention and time.\n<\/p>\n<p>The holograms, first introduced four decades ago, operate differently. They reflect and transmit light to produce ephemeral forms that appear to float either in front of or behind the picture plane, their apparent color, position, and depth shifting as the viewer moves. In the context of Hong Kong, a city with deep roots in philosophical and aesthetic traditions that privilege emptiness and the threshold between presence and absence, these works carry a resonance that extends well beyond their technical construction. Accompanying them are prints related to <em>Aten Reign<\/em>, the 2013 site-specific installation at the Solomon R. Guggenheim Museum that attracted nearly half a million visitors and became the most attended exhibition in New York that year. The Guggenheim moment established Turrell as something beyond a niche perceptual artist; it confirmed him as a figure capable of stopping a general public in its tracks.\n<\/p>\n<p>That capacity is what makes Lifting the Veil more than a gallery exhibition for committed art viewers. Turrell\u2019s <em>Skyspaces<\/em> \u2014 architectural chambers with ceiling apertures open to the sky \u2014 have been installed in locations ranging from Scotland to Japan, and their effect on visitors with no prior knowledge of his practice is well documented. The models and site plans included in the Hong Kong exhibition give those works a new context, showing the thinking and construction logic behind spaces designed to make the sky feel like an object you could almost touch. For a city built on verticality and defined by its relationship to the sky above, that proposition is not abstract.\n<\/p>\n<p>\u201cJames Turrell: Lifting the Veil\u201d opens May 28 at Gagosian Hong Kong.\n<\/p>\n<p><strong>Gagosian Hong Kong<\/strong><br \/>\n7\/F Pedder Building,<br \/>\n12 Pedder Street, Central<\/p>\n<div class=\"show-article\">\n<p>                                                            Read Full Article<\/p><\/div>\n<\/div>\n<footer>\n<div class=\"related-stories-main-wrapper\">\n<h3>Related Stories<\/h3>\n<div class=\"stories-container\" data-layer-list-name=\"related_stories\" data-layer-list-offset=\"0\" data-layer-list-child-selector=\".story-item\">\n<div class=\"story-item\" data-layer-item-id=\"6720918\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Rei Kawakubo Stages First-Ever Solo Art Fair Presentation in New York\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6646872\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>The Beginning &amp; End of Esther, NYC&#8217;s Coziest Art Fair\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6720934\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Lisa Yuskavage\u2019s Fleshy Femmes Rock David Zwirner New York\n                                                                        <\/div>\n<\/div>\n<\/div>\n<div class=\"article-email-signup-wrapper impression-tracker\">\n<h3>We got you covered. Don\u2019t miss out on the latest news by signing up for our newsletters.<\/h3>\n<div class=\"terms\">By subscribing, you agree to our Terms of Use and Privacy Policy.<\/div>\n<\/div>\n<div class=\"post-body-author d-block d-lg-none\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Sophie Caraan<\/span><\/div>\n<div class=\"post-body-credentials d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<div class=\"credential\">\n<h6>Editor Assistant<\/h6>\n<p><span>Thu Tran<\/span><\/div>\n<\/div>\n<div class=\"post-body-share d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<h6>Share this article<\/h6>\n<\/div>\n<div class=\"post-body-content-tags\">\n<div class=\"body collapsed\">\n<p>    Gagosian Hong KongJames Turrell\n                                                            <\/p><\/div>\n<\/div>\n<\/footer>\n<\/article>\n<\/div>\n<div class=\"post-body-sidebar-upper\">\n<div class=\"post-body-sidebar-category d-none d-lg-block\">\n<p>    Art\n                                                                                                    <\/p><\/div>\n<div class=\"post-body-sidebar-published d-none d-lg-block\"><time>May 14, 2026<\/time><\/div>\n<ul class=\"post-body-sidebar-hype-comments-container list-unstyled d-none d-lg-block\">\n<li><span class=\"hype-count grey\"><br \/>\n             563<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<\/li>\n<li><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-sm-inline text\">Comments<\/span><\/span>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<\/li>\n<li><span class=\"text\">Save<\/span><\/li>\n<\/ul>\n<div class=\"post-body-sidebar-author d-none d-lg-block\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Sophie Caraan<\/span><\/div>\n<hr class=\"sidebar-divider d-none d-lg-block\">\n<div class=\"post-body-sidebar-credentials d-none d-lg-block\">\n<div class=\"credential\">\n<h6>Editor Assistant<\/h6>\n<p><span>Thu Tran<\/span><\/div>\n<\/div>\n<hr class=\"sidebar-divider d-none d-lg-block\">\n<div class=\"post-body-sidebar-share d-none d-lg-block\">\n<h6>Share this article<\/h6>\n<\/div>\n<\/div>\n<div class=\"post-body-sidebar-category d-none d-lg-block\">\n<p>    Art\n                                                                                                    <\/p><\/div>\n<div class=\"post-body-sidebar-published d-none d-lg-block\"><time>May 14, 2026<\/time><\/div>\n<div class=\"post-body-sidebar-author d-none d-lg-block\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Sophie Caraan<\/span><\/div>\n<div class=\"post-body-sidebar-credentials d-none d-lg-block\">\n<div class=\"credential\">\n<h6>Editor Assistant<\/h6>\n<p><span>Thu Tran<\/span><\/div>\n<\/div>\n<div class=\"post-body-sidebar-share d-none d-lg-block\">\n<h6>Share this article<\/h6>\n<\/div>\n<article class=\"post-body-article\">\n<div id=\"post-body-top-bar\" class=\"post-body-top-bar d-block d-lg-none\">\n<div class=\"row\">\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Art<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>May 14, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             563<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<div class=\"post-body-content\">\n<p><strong>Summary<\/strong><\/p>\n<ul>\n<li>Gagosian Hong Kong opens \u201cJames Turrell: Lifting the Veil\u201d on May 28, a survey exhibition spanning holograms, prints, three new Glasswork pieces, and documentation of the artist\u2019s Skyspaces and Roden Crater project<\/li>\n<li>The exhibition marks a rare opportunity to encounter Turrell\u2019s practice in Asia, where his philosophical alignment with traditions of emptiness, atmosphere, and perceptual threshold carries particular cultural resonance<\/li>\n<li><em>Lifting the Veil<\/em> runs through August 1 at the Pedder Building in Central<\/li>\n<\/ul>\n<p>James Turrell has spent more than five decades treating light not as a tool but as the thing itself, and on May 28, Gagosian Hong Kong opens \u201cLifting the Veil,\u201d a survey exhibition that brings together holograms, prints, three Glasswork pieces, and documentary material from the artist\u2019s Skyspace and Roden Crater projects. For a city that operates at the scale and luminous intensity of Hong Kong, the timing and location feel less like coincidence and more like an argument.<\/p>\n<p>To understand why a Turrell exhibition in Hong Kong carries particular weight, it helps to start with what Turrell actually does, and what he has been doing since the 1960s. Working initially from a studio in Santa Monica, he began with projections and natural light, progressively developing a practice in which the material is the light itself rather than anything it might illuminate. His own articulation of this is direct: \u201cGenerally, light is used to reveal something about the object. I use light as the revelation itself.\u201d Over five decades, that premise has produced one of the most consistently rigorous bodies of work in contemporary art, from the intimate scale of his early projection pieces to the geological ambition of Roden Crater.\n<\/p>\n<p>Roden Crater remains the reference point against which everything else in Turrell\u2019s practice is measured. Under construction since 1977 in the Painted Desert of Northern Arizona, it is a naked-eye observatory built inside a volcanic cinder cone, designed for the contemplation of light, time, and landscape at a scale that has no real precedent in art history. The exhibition includes site plans, photographs, and models created for the project, offering Hong Kong audiences a rare material encounter with a work that most people will never experience in person. Fundraising to complete and open the crater to the public is ongoing, which gives these documentary works a particular urgency: they are records of something still becoming.\n<\/p>\n<p>The three Glassworks on view \u2014 <em>Resolute<\/em> (2025), <em>Patmos<\/em> (2024), and <em>Of One Mind<\/em> (2024) \u2014 are each installed in dedicated chambers constructed within the gallery. Initiated in 2001, the series uses computer-controlled LED lights behind shaped apertures, an ellipse, a diamond, and a rectangle respectively, to produce slowly shifting fields of color that pulse between center and edge, alternating between impressions of depth and flatness. Installed in sequence, they function as a calibrated progression rather than three separate encounters, guiding the viewer through increasingly refined states of perceptual awareness. They are among Turrell\u2019s most accessible works in the sense that they require nothing from the viewer except attention and time.\n<\/p>\n<p>The holograms, first introduced four decades ago, operate differently. They reflect and transmit light to produce ephemeral forms that appear to float either in front of or behind the picture plane, their apparent color, position, and depth shifting as the viewer moves. In the context of Hong Kong, a city with deep roots in philosophical and aesthetic traditions that privilege emptiness and the threshold between presence and absence, these works carry a resonance that extends well beyond their technical construction. Accompanying them are prints related to <em>Aten Reign<\/em>, the 2013 site-specific installation at the Solomon R. Guggenheim Museum that attracted nearly half a million visitors and became the most attended exhibition in New York that year. The Guggenheim moment established Turrell as something beyond a niche perceptual artist; it confirmed him as a figure capable of stopping a general public in its tracks.\n<\/p>\n<p>That capacity is what makes Lifting the Veil more than a gallery exhibition for committed art viewers. Turrell\u2019s <em>Skyspaces<\/em> \u2014 architectural chambers with ceiling apertures open to the sky \u2014 have been installed in locations ranging from Scotland to Japan, and their effect on visitors with no prior knowledge of his practice is well documented. The models and site plans included in the Hong Kong exhibition give those works a new context, showing the thinking and construction logic behind spaces designed to make the sky feel like an object you could almost touch. For a city built on verticality and defined by its relationship to the sky above, that proposition is not abstract.\n<\/p>\n<p>\u201cJames Turrell: Lifting the Veil\u201d opens May 28 at Gagosian Hong Kong.\n<\/p>\n<p><strong>Gagosian Hong Kong<\/strong><br \/>\n7\/F Pedder Building,<br \/>\n12 Pedder Street, Central<\/p>\n<div class=\"show-article\">\n<p>                                                            Read Full Article<\/p><\/div>\n<\/div>\n<footer>\n<div class=\"related-stories-main-wrapper\">\n<h3>Related Stories<\/h3>\n<div class=\"stories-container\" data-layer-list-name=\"related_stories\" data-layer-list-offset=\"0\" data-layer-list-child-selector=\".story-item\">\n<div class=\"story-item\" data-layer-item-id=\"6720918\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Rei Kawakubo Stages First-Ever Solo Art Fair Presentation in New York\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6646872\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>The Beginning &amp; End of Esther, NYC&#8217;s Coziest Art Fair\n                                                                        <\/div>\n<div class=\"story-item\" data-layer-item-id=\"6720934\" data-layer-item-blog-id=\"1\" data-layer-item-type=\"post\"><span>&gt;<\/span>Lisa Yuskavage\u2019s Fleshy Femmes Rock David Zwirner New York\n                                                                        <\/div>\n<\/div>\n<\/div>\n<div class=\"article-email-signup-wrapper impression-tracker\">\n<h3>We got you covered. Don\u2019t miss out on the latest news by signing up for our newsletters.<\/h3>\n<div class=\"terms\">By subscribing, you agree to our Terms of Use and Privacy Policy.<\/div>\n<\/div>\n<div class=\"post-body-author d-block d-lg-none\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Sophie Caraan<\/span><\/div>\n<div class=\"post-body-credentials d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<div class=\"credential\">\n<h6>Editor Assistant<\/h6>\n<p><span>Thu Tran<\/span><\/div>\n<\/div>\n<div class=\"post-body-share d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<h6>Share this article<\/h6>\n<\/div>\n<div class=\"post-body-content-tags\">\n<div class=\"body collapsed\">\n<p>    Gagosian Hong KongJames Turrell\n                                                            <\/p><\/div>\n<\/div>\n<\/footer>\n<\/article>\n<div id=\"post-body-top-bar\" class=\"post-body-top-bar d-block d-lg-none\">\n<div class=\"row\">\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Art<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>May 14, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             563<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<div class=\"post-body-top-bar-share-meta-container\">\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Art<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>May 14, 2026<\/time><\/span><\/div>\n<\/div>\n<div class=\"post-body-top-bar-meta\"><span class=\"post-body-top-bar-category\"><\/p>\n<p>    Art<br \/>\n                                                    <\/span><span class=\"post-body-top-bar-published\"><time>May 14, 2026<\/time><\/span><\/div>\n<div class=\"post-body-top-bar-hype-comments-container \"><span class=\"hype-count grey\"><br \/>\n             563<br \/>\n    <\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Views<\/span><\/div>\n<p><span class=\"disqus-comment-count\"><span>0<\/span><span>\u00a0<\/span><span class=\"d-none d-none text\">Comments<\/span><\/span><\/p>\n<div class=\"floating-tooltip\" role=\"tooltip\"><span>Comments<\/span><\/div>\n<p><span class=\"text\">Save<\/span><\/div>\n<div class=\"post-body-content\">\n<p><strong>Summary<\/strong><\/p>\n<ul>\n<li>Gagosian Hong Kong opens \u201cJames Turrell: Lifting the Veil\u201d on May 28, a survey exhibition spanning holograms, prints, three new Glasswork pieces, and documentation of the artist\u2019s Skyspaces and Roden Crater project<\/li>\n<li>The exhibition marks a rare opportunity to encounter Turrell\u2019s practice in Asia, where his philosophical alignment with traditions of emptiness, atmosphere, and perceptual threshold carries particular cultural resonance<\/li>\n<li><em>Lifting the Veil<\/em> runs through August 1 at the Pedder Building in Central<\/li>\n<\/ul>\n<p>James Turrell has spent more than five decades treating light not as a tool but as the thing itself, and on May 28, Gagosian Hong Kong opens \u201cLifting the Veil,\u201d a survey exhibition that brings together holograms, prints, three Glasswork pieces, and documentary material from the artist\u2019s Skyspace and Roden Crater projects. For a city that operates at the scale and luminous intensity of Hong Kong, the timing and location feel less like coincidence and more like an argument.<\/p>\n<p>To understand why a Turrell exhibition in Hong Kong carries particular weight, it helps to start with what Turrell actually does, and what he has been doing since the 1960s. Working initially from a studio in Santa Monica, he began with projections and natural light, progressively developing a practice in which the material is the light itself rather than anything it might illuminate. His own articulation of this is direct: \u201cGenerally, light is used to reveal something about the object. I use light as the revelation itself.\u201d Over five decades, that premise has produced one of the most consistently rigorous bodies of work in contemporary art, from the intimate scale of his early projection pieces to the geological ambition of Roden Crater.\n<\/p>\n<p>Roden Crater remains the reference point against which everything else in Turrell\u2019s practice is measured. Under construction since 1977 in the Painted Desert of Northern Arizona, it is a naked-eye observatory built inside a volcanic cinder cone, designed for the contemplation of light, time, and landscape at a scale that has no real precedent in art history. The exhibition includes site plans, photographs, and models created for the project, offering Hong Kong audiences a rare material encounter with a work that most people will never experience in person. Fundraising to complete and open the crater to the public is ongoing, which gives these documentary works a particular urgency: they are records of something still becoming.\n<\/p>\n<p>The three Glassworks on view \u2014 <em>Resolute<\/em> (2025), <em>Patmos<\/em> (2024), and <em>Of One Mind<\/em> (2024) \u2014 are each installed in dedicated chambers constructed within the gallery. Initiated in 2001, the series uses computer-controlled LED lights behind shaped apertures, an ellipse, a diamond, and a rectangle respectively, to produce slowly shifting fields of color that pulse between center and edge, alternating between impressions of depth and flatness. Installed in sequence, they function as a calibrated progression rather than three separate encounters, guiding the viewer through increasingly refined states of perceptual awareness. They are among Turrell\u2019s most accessible works in the sense that they require nothing from the viewer except attention and time.\n<\/p>\n<p>The holograms, first introduced four decades ago, operate differently. They reflect and transmit light to produce ephemeral forms that appear to float either in front of or behind the picture plane, their apparent color, position, and depth shifting as the viewer moves. In the context of Hong Kong, a city with deep roots in philosophical and aesthetic traditions that privilege emptiness and the threshold between presence and absence, these works carry a resonance that extends well beyond their technical construction. Accompanying them are prints related to <em>Aten Reign<\/em>, the 2013 site-specific installation at the Solomon R. Guggenheim Museum that attracted nearly half a million visitors and became the most attended exhibition in New York that year. The Guggenheim moment established Turrell as something beyond a niche perceptual artist; it confirmed him as a figure capable of stopping a general public in its tracks.\n<\/p>\n<p>That capacity is what makes Lifting the Veil more than a gallery exhibition for committed art viewers. Turrell\u2019s <em>Skyspaces<\/em> \u2014 architectural chambers with ceiling apertures open to the sky \u2014 have been installed in locations ranging from Scotland to Japan, and their effect on visitors with no prior knowledge of his practice is well documented. The models and site plans included in the Hong Kong exhibition give those works a new context, showing the thinking and construction logic behind spaces designed to make the sky feel like an object you could almost touch. For a city built on verticality and defined by its relationship to the sky above, that proposition is not abstract.\n<\/p>\n<p>\u201cJames Turrell: Lifting the Veil\u201d opens May 28 at Gagosian Hong Kong.\n<\/p>\n<p><strong>Gagosian Hong Kong<\/strong><br \/>\n7\/F Pedder Building,<br \/>\n12 Pedder Street, Central<\/p>\n<div class=\"show-article\">\n<p>                                                            Read Full Article<\/p><\/div>\n<\/div>\n<div class=\"post-body-author d-block d-lg-none\">\n<hr class=\"sidebar-divider share-divider\">\n<h6>Text By<\/h6>\n<p><span class=\"author-name\">Sophie Caraan<\/span><\/div>\n<div class=\"post-body-credentials d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<div class=\"credential\">\n<h6>Editor Assistant<\/h6>\n<p><span>Thu Tran<\/span><\/div>\n<\/div>\n<div class=\"post-body-share d-block d-lg-none\">\n<hr class=\"sidebar-divider\">\n<h6>Share this article<\/h6>\n<\/div>\n<div class=\"post-body-content-tags\">\n<div class=\"body collapsed\">\n<p>    Gagosian Hong KongJames Turrell\n                                                            <\/p><\/div>\n<\/div>\n<p>[analyse_source url=&#8221;https:\/\/hypebeast.com\/2026\/5\/james-turrell-lifting-the-veil-gagosian-hong-kong-exhibit-announcement-info&#8221;]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/image-cdn.hypb.st\/https%3A%2F%2Fhypebeast.com%2Fimage%2F2026%2F05%2F14%2FtwJames-Turrell-Lifting-the-Veil-Gagosian-Hong-Kong-Exhibit-announcement-Info.jpg?w=1080&amp;cbr=1&amp;q=90&amp;fit=max&#8221;] Art May 14, 2026 563 Views 0\u00a0Comments Comments Save Text By Sophie Caraan Editor Assistant Thu Tran Share this article Art May 14, 2026 563 Views 0\u00a0Comments Comments Save Summary Gagosian Hong Kong opens \u201cJames Turrell: Lifting the Veil\u201d on May 28, a survey exhibition spanning holograms, prints, three new Glasswork pieces, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[226,39],"class_list":["post-1939950","post","type-post","status-publish","format-standard","hentry","category-politics","tag-crawlmanager","tag-hypebeast-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1939950","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=1939950"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1939950\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1939950"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1939950"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1939950"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}