8 Exhibitions Not to Miss for Hong Kong Art Week

Known for its density and constant movement, Hong Kong comes into focus during Art Week, when its gallery scene offers a more grounded counterpoint to the pace of the fairs. As preview days begin and visitors settle into the city—often mid–jet lag—these exhibitions provide an early entry point into the conversations shaping the week.

Across the city, institutions and galleries present a range of perspectives. Blindspot Gallery explores diaspora and mythology through layered, personal narratives, while Para Site revisits its seminal 1996 exhibition with a timely reexamination of urban space. At MASSIMODECARLO, Lily Stockman draws from Buddhist philosophy to consider painting as a space of reflection, while at Hauser & Wirth, Nicole Eisenman turns inward, reframing the rhythms of everyday life. Together, these exhibitions offer a measured start, one that rewards slowing down before the momentum builds.

Group Show: “Site-seeing”

Para Site

Quarry Bay

Para Site marks three decades since its founding with “Site-seeing,” a Hong Kong exhibition that returns to the institution’s seminal 1996 show of the same name. Revisiting that early curatorial premise, the exhibition brings together nine artists and collectives from across the Asia Pacific and beyond, tracing how urban space, memory, and artistic production continue to evolve within today’s global cities.

Installations, moving image, and sculptural works unfold as extensions of the original exhibition’s conceptual inquiries. The participating artists—born between the 1970s and 1990s—belong to a generation shaped by rapid industrialization and globalization, and their practices reflect the resulting tensions. Hong Kong serves as both subject and site, positioned in dialogue with neighboring and distant cities as it navigates the erosion of its industrial identity. Questions of redevelopment, regulation, and cultural displacement emerge with a measured sense of irony.

What we love: A sharp, intergenerational lens on Hong Kong’s urban fabric, and a timely reflection on how cities remember, transform, and endure.

“Site-seeing” at Para Site
March 14–June 14, 2026

Nicole Eisenman: “Fallen Angels”

Hauser & Wirth

Central

Nicole Eisenman’s “Fallen Angels” at Hauser & Wirth Hong Kong brings together eleven recent paintings and three sculptures, narrowing its focus to three familiar sites of middle-class life: home, work, and the beach. The largely easel-sized paintings, alongside sculptures that read as near-accidental assemblages, mark a deliberate shift in scale and tone—moving away from Eisenman’s signature crowded tableaux toward something quieter, more observational. Figures linger and repeat themselves, suspended in spaces where time seems to stall. Home and work collapse into one another, while the beach, rather than offering escape, reinforces a sense of inevitability.

Across the exhibition, the sky emerges as a recurring, darkening presence. In A Good Place to Start (2025), glimpsed through a red-curtained window, it carries an almost violent charge, echoed in noir-tinged urban scenes and layered surfaces that reveal traces of revision and memory.

What we love: The painting Fallen Angels (2025) reframes Wong Kar-wai’s 1995 film as a nocturnal key to the exhibition, where every window and sky signals a world quietly, steadily darkening.

Nicole Eisenman at Hauser & Wirth
March 24–May 30, 2026

El Anatsui: “MivEvi”

White Cube Hong Kong

Central

Spanning White Cube’s Hong Kong and Seoul spaces, El Anatsui’s concurrent exhibitions mark a significant debut with the gallery—and a rare presentation of a new, evolving body of work across two cities. Working across metal, ceramic, wood, and printmaking, the artist continues to expand his sculptural language, long defined by material transformation and cultural narratives shaped by the movement and reuse of everyday objects.

At the center of this presentation are Anatsui’s signature bottle-cap works, first introduced over three decades ago and here reimagined with renewed restraint. Thousands of colored metal fragments are stitched into fluid, tapestry-like compositions that emphasize both recto and verso, allowing the sculptures to be experienced from either side. The palette is pared back, reinforcing the artist’s ongoing exploration of form as something inherently unfixed, shifting with each installation.

What we love: A monumental work is set to appear at Art Basel Hong Kong hovering in space—one side rendered in earthy reds, the other in luminous silver—capturing Anatsui’s quiet mastery of transformation.

El Anatsui at White Cube Hong Kong
March 18-April 18, 2026

Trevor Yeung: “swallowing rumination, gracefully”

Blindspot Gallery

Wong Chuk Hang

“Trevor Yeung: swallowing rumination, gracefully” marks the artist’s fourth exhibition with Blindspot Gallery, a Hong Kong exhibition that continues his exploration of interior states through carefully constructed environments. Known for his use of aquariums, horticultural elements, found-object installations, and photography, Yeung creates scenarios that mirror emotional conditions while subtly staging social dynamics. His works operate as quiet systems—spaces where ideas of selfhood and intersubjectivity unfold through gesture, material, and atmosphere.

At the center of the exhibition is Tears of Falling Suns (2026), a new sculptural series positioned along the gallery’s periphery. Composed of volcanic lava rocks and sunstones, the works draw from the Chinese myth of Hou Yi, who shot down nine of ten suns to restore balance. Here, those fallen celestial bodies are reimagined as quiet allegories of neglect and excess. Nearby, Rolling Black Cleanser (2026) features nine mineral spheres rotating in place, invoking both ritual and the enduring pull of protective superstition.

What we love: Um, I am fine (2026) revisits Yeung’s aquarium motif through a more restrained lens—a tank of water held in precarious balance, where slow drips suggest an inevitable, almost imperceptible collapse.

Trevor Yeung at Blindspot Gallery
February 24–May 2, 2026

Lap-See Lam: “Bamboo Palace, Revisited”

Blindspot Gallery

Wong Chuk Hang

Opening during Hong Kong Art Week, “Bamboo Palace, Revisited” marks Lap-See Lam’s solo debut with Blindspot Gallery and her first exhibition in Asia. Centered on the video installation Floating Sea Palace (2024), the presentation unfolds alongside glass and neon works, weaving together narratives of diaspora, migration, and generational loss. Lam draws from her experience growing up in a Hong Kong immigrant family in Stockholm, examining how cultural symbols shift, fragment, and are reinterpreted across distance.

Blending mythology with contemporary technology, the exhibition incorporates shadow play, Cantonese opera, and 3D scanning to construct a layered visual language. At its core, Floating Sea Palace—developed from The Altersea Opera (2024)—imagines an alternate maritime world shaped by memory and fiction. The figure of Lo Ting, a primordial human-fish hybrid often associated with Hong Kong origin myths, emerges as a central presence, anchoring questions of identity and belonging.

What we love: A richly constructed narrative that merges folklore and technology, offering a nuanced lens on diaspora and the fluidity of cultural memory.

Lap-See Lam at Blindspot Gallery
March 23–May 2, 2026

Walter Price: “Pearl Lines”

David Zwirner

Central

Walter Price presents his first solo exhibition in Asia and his second with David Zwirner since joining in 2024. A New York–based artist, he is known for vivid paintings and works on paper that resist fixed stylistic categories, moving fluidly between figuration and abstraction. His compositions explore color, line, and spatial tension, offering scenes that feel both immediate and open-ended.

Across the exhibition, shifts in perspective and scale create a subtle instability, balanced by an intuitive handling of form. The works invite quiet contemplation rather than a fixed reading, allowing viewers to move through them at their own pace. Price’s background—serving four years in the U.S. Navy before attending art school on the GI Bill—adds context to a practice that has been widely exhibited across the United States and Europe.

What we love: A body of work guided by instinct, where bold contrasts and unexpected compositions resolve into a cohesive, compelling whole.

Walter Price at David Zwirner
March 24–May 9, 2026

Claude and François-Xavier Lalanne: “Les Lalanne: A Living Landscape”

Ben Brown Fine Arts Hong Kong

Wong Chuk Hang

Presented during Art Basel Hong Kong 2026, “Les Lalanne: A Living Landscape” brings together works by Claude and François-Xavier Lalanne in one of the duo’s most significant presentations in Asia to date. The exhibition also marks the expansion of Ben Brown Fine Arts’ Hong Kong gallery, introducing a more versatile space designed to accommodate ambitious, immersive installations.

The gallery is transformed into a contemplative, garden-like environment inspired by the spatial harmony of Japanese Zen landscapes. Within this setting, François-Xavier’s monumental animals appear mid-graze, while Claude’s botanical forms unfurl across furniture, mirrors, and sculptural objects, creating a rhythmic, organic flow. At the center, Hippopotame Bar (1976) and Sauterelle Bar (1970) are presented together in Asia for the first time, elevating functional design into sculptural presence. Claude’s works—spanning Entrelacs and Ginkgo furniture to flora-adorned Miroirs—bring a quiet sense of transformation to the everyday.

What we love: An installation that echoes the Lalannes’ home in Ury, where art and life blur—here, the garden becomes both setting and subject.

Claude and François-Xavier Lalanne at Ben Brown Fine Arts Hong Kong
March 21–June 13, 2026

Lily Stockman: “A Grass Roof”

MASSIMODECARLO

Central

“A Grass Roof” marks Lily Stockman’s first Hong Kong exhibition, presented at MASSIMODECARLO and inspired by an eighth-century poem by Tang Dynasty Buddhist master Shitou Xiqian. Drawing from the line, “though the hut is small, it includes the entire world,” the exhibition brings together six new paintings that test this idea through the language of abstraction.

Working within a restrained palette of blues and greens, Stockman constructs layered compositions where frames nest within frames and organic forms emerge and recede. Her canvases dissolve the boundary between interior refuge and infinite expanse, proposing painting as a kind of provisional architecture—a thatched hut rather than a fixed structure. Built with fine, calligraphic brushwork, the surfaces carry a sense of permeability, where space feels both contained and open.

Each work operates as a threshold, what the artist describes as “a window left a little bit open,” offering a moment of recalibration within Hong Kong’s density rather than pure escape.

What we love: A quiet but expansive proposition—where the smallest painted space holds the possibility of an entire world.

Lily Stockman at MASSIMODECARLO
March 24–May 21, 2026