The exhibition Wetware, curated by Spine (Aidan Chisholm and Laura Audrey Brown), opens on July 9, and runs through August 7, 2026. Participating artists include Alison Knowles, Aviva Silverman, Bettina, Early Shinada, Faith Icecold, Khia Hong, Patty Chang, Rafael Sánchez and Tishan Hsu. The exhibition is hosted by RAINRAIN Gallery in New York.
The exhibition Cosmological Critique showcases the complex work of Catherine Christer Hennix (1948, Stockholm – 2023, Istanbul), whose five decades of artistic activity involved the amalgamation of music, mathematics, language and spirituality into a singular space of thought. Hennix conceived her works as ‘semiotical objects’ – such as signs, diagrams and texts, as well as sound and light compositions – through which she sought to investigate and to transform perception and the processes of meaning generation.
Beginning in the late 1960s, and with points of departure in the experimental music scenes of Stockholm and New York, Hennix developed an approach that shifted between minimalist composition, mathematical research and metaphysical speculation. Formative for her development were encounters with La Monte Young, Marian Zazeela and Pandit Pran Nath, whose ideas about time, sound and continuity had a lasting influence. In parallel, she was intensively preoccupied with the philosophical, logical and linguistic bases of mathematics, and was, among other things, a guest professor at the first lab for artificial intelligence at MIT.
Cosmological Critique is the most extensive presentation of this artist to date, and ranges from early graphic scores and immersive installations to abstract Nō dramas, paintings and sculptures, as well as questions of transfeminist aesthetics and politics. Recurring concepts drawn from mathematics and psychoanalysis function here less as references, and instead actually structure the works themselves. These are interpretable as manifestations of a radical conceptual and critical project that interweaves poetic, mathematical, musical and artistic forms of knowing to transcend Western categories of thought and medial boundaries in pursuit of cosmic perspectives.
Curated by Anja Casser, Lawrence Kumpf and Moritz Nebenführ
The exhibition is produced in collaboration with Malmö Konsthall, The Etymon Foundation (New York) and Empty Gallery (Hong Kong) as well as Marcus Pal as artistic advisor.
Funded by the German Federal Cultural Foundation and the Federal Government Commissioner for Culture and the Media.
Jacqueline Kiyomi Gork and James T. Hong are amongst the 43 artists and collectives participating in the upcoming 16th Gwangju Biennale. Titled You Must Change Your Life, this edition is led by Ho Tzu Nyen with curators Che Kyongfa, Park Gahee and Brian Kuan Wood and will run from 5 September to 15 November.
Taro Masushio’s second solo exhibition, Goldfish, at Ulrik; New York will be on view from May 9 through June 12. The gallery will host an opening reception from on Friday, May 15, 6-9pm. For further details, visit the gallery’s Instagram at the link below.
Doris Guo will open her first solo exhibition at 15 Orient in New York City on Friday, May 8, from 6 through 9pm:
15 Orient presents “Still Human”, a solo-exhibition by Doris Guo. Centered on a large slideshow video projection, the show features a constellation of new opaque projector sculptures, cast foam supports, imploded metal compositions, and photographs of an elusive mountain.
Empty Gallery was recently featured in the April 2026 issue of The Art Journal in a feature on art initiatives in the Southern district of Hong Kong island, written by Rachel Yang.
The Kestner Gesellschaft is pleased to present Potentialities, a major survey of works by Richard Hawkins. Since the early 1990s, the Los Angeles–based artist has developed a singular practice centered nerdy research, the dynamics of fandom and desire, and on the intense pleasure of looking. Comprising more than 100 works across eight bodies of work, the exhibition offers the first major institutional overview of Hawkins’s oeuvre in more than a decade. Potentialities focuses on works produced over the past twenty years, spanning painting, sculpture, ceramic reliefs, and AI-generated videos that draw on online subcultures and shared memes.
Empty Gallery has been featured in the Australian publication “Broadsheet” exploring Hong Kong’s spaces for art.
On view from April 16–August 17, 2026, this edition of Greater New York will mark PS1’s 50th anniversary, and rather than bringing on any outside curators, the museum has this time leaned on its staff to organize the show. The exhibition’s curatorial team includes director Connie Butler, chief curator and director of curatorial affairs Ruba Katrib, associate curators Jody Graf and Elena Ketelsen, assistant curator Kari Rittenbach, curatorial assistant Sheldon Gooch, and curatorial coordinator Andrea Sánchez.
Taro Masushio and Cici Wu are amongst the participating artists of this year’s exhibition. Please see the link below for further information.
In an excerpt from her book Calamities (2016), which hangs on the wall of Empty Gallery in Hong Kong, the poet Renee Gladman attempts to configure a diagram of poetry for her students—a grid hovering over a “subterranean container where meaning might lie”—before realizing that her schematics are off, that “poetry comes from nothing.” Her subsequent advice may well function as the primary directive of this exhibition, organized by San Francisco–based curator Jordan Stein: “Read the nothing.”
From the outset, La Moustache presents itself as an aporia, given its stated desire to transcend the known tempered by the manifold means of arriving there. If, in our present moment, we are buckling under the weight of too much meaning, the competing impulses of spiritualist withdrawal and nihilist accelerationism both promise non-sense as a way out. Stein shows little interest in the endless scrolls and AI-powered image infinities that purport transcendence through distraction, submission to the Algorithm-as-God. In its stead, he has assembled a group of meditative works anchored around the Bay Area Conceptualists of the 1970s like Paul Kos and Stephen Kaltenbach, alongside Doris Guo, Mary Helena Clark, and other younger artists continuing their legacy of object-as-experience, resisting an analytical approach in favor of something more phenomenological. By resurrecting a uniquely Californian perspective on Minimalism, with its cadre of art-world dropouts and back-to-the-land enthusiasts, Stein is resisting not only a tradition of criticality but also the social apparatuses that sustain it.
Spillover | Ann Zhao July 4 – September 5, 2026
Taro Masushio, Cici Wu in Greater New York at MoMA PS1
Opening Hours: Tuesdays–Saturdays, 11am–7pm
