Zapisz historię na Instagramie

On the occasion of Jutta Koether’s exhibition rEceNt WoRkS, we are pleased to invite the art historian and critic David Joselit for a lecture at 7PM on Tuesday, June 9, 2026. The exhibition will be on view until June 20. No RSVP required. Walk-ins welcome.

David Joselit began his career as a curator at The ICA in Boston from 1983-1989. He has taught at the University of California, Irvine, Yale University where he was Chair of the History of Art Department from 2006 to 2009, and the CUNY Graduate Center. He is currently Arthur Kingsley Porter Professor of Art, Film, and Visual Studies at Harvard, and was department Chair between 2021 and 2024. Joselit is author of Infinite Regress: Marcel Duchamp 1910-1941 (MIT, 1998), American Art Since 1945 (Thames and Hudson, 2003), Feedback: Television Against Democracy (MIT, 2007), and After Art (Princeton University Press, 2012). He co-organized the exhibition, “Painting 2.0: Expression in the Information Age,” which opened at the Brandhorst Museum in Munich in 2015. Joselit is an editor of the journal OCTOBER and writes regularly on contemporary art and culture. His book Heritage and Debt: Art in Globalization (MIT Press 2020) won the 2021 Robert Motherwell Book Award. His most recent book is Art’s Properties (Princeton University Press, 2023).

Poster design by Christopher Troester @christopher.troester

Taro Masushio is participating in Greater New York, at MoMA PS1, on view through August 17, 2026.

If you’re in New York, you can also catch Masushio’s solo exhibition “Goldfish” opening at @ulrik.nyc this weekend, May 15, 6–9pm.

Installation view of Greater New York, on view at MoMA PS1 from April 16 through August 17, 2026. Courtesy MoMA PS1. Photo: Kris Graves

@momaps1 #TaroMasushio

Taro Masushio is participating in Greater New York, at MoMA PS1, on view through August 17, 2026.

If you’re in New York, you can also catch Masushio’s solo exhibition “Goldfish” opening at @ulrik.nyc this weekend, May 15, 6–9pm.

Installation view of Greater New York, on view at MoMA PS1 from April 16 through August 17, 2026. Courtesy MoMA PS1. Photo: Kris Graves

@momaps1 #TaroMasushio

Taro Masushio is participating in Greater New York, at MoMA PS1, on view through August 17, 2026.

If you’re in New York, you can also catch Masushio’s solo exhibition “Goldfish” opening at @ulrik.nyc this weekend, May 15, 6–9pm.

Installation view of Greater New York, on view at MoMA PS1 from April 16 through August 17, 2026. Courtesy MoMA PS1. Photo: Kris Graves

@momaps1 #TaroMasushio

Jutta Koether at Empty Gallery, Hong Kong
“rEceNt WoRkS”
March 22 – June 20, 2026
Photos: ©Felix S.C. Wong / all images copyright and courtesy of the artist and Empty Gallery
@emptygallery.hk @jnplfk

Jutta Koether at Empty Gallery, Hong Kong
“rEceNt WoRkS”
March 22 – June 20, 2026
Photos: ©Felix S.C. Wong / all images copyright and courtesy of the artist and Empty Gallery
@emptygallery.hk @jnplfk

Jutta Koether at Empty Gallery, Hong Kong
“rEceNt WoRkS”
March 22 – June 20, 2026
Photos: ©Felix S.C. Wong / all images copyright and courtesy of the artist and Empty Gallery
@emptygallery.hk @jnplfk

Jutta Koether at Empty Gallery, Hong Kong
“rEceNt WoRkS”
March 22 – June 20, 2026
Photos: ©Felix S.C. Wong / all images copyright and courtesy of the artist and Empty Gallery
@emptygallery.hk @jnplfk

Jutta Koether at Empty Gallery, Hong Kong
“rEceNt WoRkS”
March 22 – June 20, 2026
Photos: ©Felix S.C. Wong / all images copyright and courtesy of the artist and Empty Gallery
@emptygallery.hk @jnplfk

Longing wraps like lotus silk weaves, roping sunlight and moonbeams. Woven Lotus at Sekmai Space, organised by Qu Chang and Echo Shi, has gradually unfolded from April 2025 to April 2026. Cici Wu is amongst the participating collaborators, a group which also includes Law Yuk Mui, Doreen Chan and Zheng Awen.

Through artists’ residency, visits, and interaction with the home space, the exhibition offers a slow experience of the intimate connection between “home-making” and “exhibition-making.” Taking place in the former home of the He family, two former Dongguan Municipal office employees, the exhibition endeavours to reconnect with the tactility and weaving of home, exploring its tightness, breathability, and softness while exploring home as a social space imbued with soft materials, fine threads, and rich emotional currents. Sekmai is an independent art space in Dongguan. It focuses on contemporary art and curatorial practices in Mainland of China and beyond.

@sekmaispace @quchangbuduan @echoshek #CiciWu

Longing wraps like lotus silk weaves, roping sunlight and moonbeams. Woven Lotus at Sekmai Space, organised by Qu Chang and Echo Shi, has gradually unfolded from April 2025 to April 2026. Cici Wu is amongst the participating collaborators, a group which also includes Law Yuk Mui, Doreen Chan and Zheng Awen.

Through artists’ residency, visits, and interaction with the home space, the exhibition offers a slow experience of the intimate connection between “home-making” and “exhibition-making.” Taking place in the former home of the He family, two former Dongguan Municipal office employees, the exhibition endeavours to reconnect with the tactility and weaving of home, exploring its tightness, breathability, and softness while exploring home as a social space imbued with soft materials, fine threads, and rich emotional currents. Sekmai is an independent art space in Dongguan. It focuses on contemporary art and curatorial practices in Mainland of China and beyond.

@sekmaispace @quchangbuduan @echoshek #CiciWu

Longing wraps like lotus silk weaves, roping sunlight and moonbeams. Woven Lotus at Sekmai Space, organised by Qu Chang and Echo Shi, has gradually unfolded from April 2025 to April 2026. Cici Wu is amongst the participating collaborators, a group which also includes Law Yuk Mui, Doreen Chan and Zheng Awen.

Through artists’ residency, visits, and interaction with the home space, the exhibition offers a slow experience of the intimate connection between “home-making” and “exhibition-making.” Taking place in the former home of the He family, two former Dongguan Municipal office employees, the exhibition endeavours to reconnect with the tactility and weaving of home, exploring its tightness, breathability, and softness while exploring home as a social space imbued with soft materials, fine threads, and rich emotional currents. Sekmai is an independent art space in Dongguan. It focuses on contemporary art and curatorial practices in Mainland of China and beyond.

@sekmaispace @quchangbuduan @echoshek #CiciWu

Longing wraps like lotus silk weaves, roping sunlight and moonbeams. Woven Lotus at Sekmai Space, organised by Qu Chang and Echo Shi, has gradually unfolded from April 2025 to April 2026. Cici Wu is amongst the participating collaborators, a group which also includes Law Yuk Mui, Doreen Chan and Zheng Awen.

Through artists’ residency, visits, and interaction with the home space, the exhibition offers a slow experience of the intimate connection between “home-making” and “exhibition-making.” Taking place in the former home of the He family, two former Dongguan Municipal office employees, the exhibition endeavours to reconnect with the tactility and weaving of home, exploring its tightness, breathability, and softness while exploring home as a social space imbued with soft materials, fine threads, and rich emotional currents. Sekmai is an independent art space in Dongguan. It focuses on contemporary art and curatorial practices in Mainland of China and beyond.

@sekmaispace @quchangbuduan @echoshek #CiciWu

The Kestner Gesellschaft is pleased to present Potentialities, a major survey of works by Richard Hawkins, from April 24 through August 2, 2026. 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.

Installation views courtesy of Kestner Gesellschaft.

The exhibition in Hannover is curated by Eva Birkenstock in close collaboration with Kunsthalle Wien. It is accompanied by the publication Richard Hawkins: Potentialities, with texts by Rhea Anastas, Annie Ochmanek, and Kristian Vistrup Madsen; an interview with the artist by Bruce Hainley; and an introduction by Michelle Cotton and Eva Birkenstock. 

@kestner_gesellschaft @richardhawkins03

The Kestner Gesellschaft is pleased to present Potentialities, a major survey of works by Richard Hawkins, from April 24 through August 2, 2026. 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.

Installation views courtesy of Kestner Gesellschaft.

The exhibition in Hannover is curated by Eva Birkenstock in close collaboration with Kunsthalle Wien. It is accompanied by the publication Richard Hawkins: Potentialities, with texts by Rhea Anastas, Annie Ochmanek, and Kristian Vistrup Madsen; an interview with the artist by Bruce Hainley; and an introduction by Michelle Cotton and Eva Birkenstock. 

@kestner_gesellschaft @richardhawkins03

The Kestner Gesellschaft is pleased to present Potentialities, a major survey of works by Richard Hawkins, from April 24 through August 2, 2026. 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.

Installation views courtesy of Kestner Gesellschaft.

The exhibition in Hannover is curated by Eva Birkenstock in close collaboration with Kunsthalle Wien. It is accompanied by the publication Richard Hawkins: Potentialities, with texts by Rhea Anastas, Annie Ochmanek, and Kristian Vistrup Madsen; an interview with the artist by Bruce Hainley; and an introduction by Michelle Cotton and Eva Birkenstock. 

@kestner_gesellschaft @richardhawkins03

The Kestner Gesellschaft is pleased to present Potentialities, a major survey of works by Richard Hawkins, from April 24 through August 2, 2026. 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.

Installation views courtesy of Kestner Gesellschaft.

The exhibition in Hannover is curated by Eva Birkenstock in close collaboration with Kunsthalle Wien. It is accompanied by the publication Richard Hawkins: Potentialities, with texts by Rhea Anastas, Annie Ochmanek, and Kristian Vistrup Madsen; an interview with the artist by Bruce Hainley; and an introduction by Michelle Cotton and Eva Birkenstock. 

@kestner_gesellschaft @richardhawkins03

CC Hennix is on view at Malmö Konsthall until May 17, 2026. Malmö Konsthall presents an exhibition showcasing the visual and sound art of Catherine Christer Hennix. While Hennix is best known as a musician and composer of long-form drone compositions, her creative practice extended far beyond music, engaging significant artistic and intellectual conversations of the 20th century.

@malmokonsthall 

Installation views: CC Hennix, Malmö Konsthall, 2026
Photo: Helene Toresdotter

The exhibition is a collaboration between Malmö Konsthall, Badischer Kunstverein (Karlsruhe), Blank Forms (New York), and Empty Gallery (Hong Kong/Berlin). Curatorial team: Lawrence Kumpf, Mats Stjernstedt, Anna Kindvall, and Benjamin McIntosh.

CC Hennix is on view at Malmö Konsthall until May 17, 2026. Malmö Konsthall presents an exhibition showcasing the visual and sound art of Catherine Christer Hennix. While Hennix is best known as a musician and composer of long-form drone compositions, her creative practice extended far beyond music, engaging significant artistic and intellectual conversations of the 20th century.

@malmokonsthall 

Installation views: CC Hennix, Malmö Konsthall, 2026
Photo: Helene Toresdotter

The exhibition is a collaboration between Malmö Konsthall, Badischer Kunstverein (Karlsruhe), Blank Forms (New York), and Empty Gallery (Hong Kong/Berlin). Curatorial team: Lawrence Kumpf, Mats Stjernstedt, Anna Kindvall, and Benjamin McIntosh.

CC Hennix is on view at Malmö Konsthall until May 17, 2026. Malmö Konsthall presents an exhibition showcasing the visual and sound art of Catherine Christer Hennix. While Hennix is best known as a musician and composer of long-form drone compositions, her creative practice extended far beyond music, engaging significant artistic and intellectual conversations of the 20th century.

@malmokonsthall 

Installation views: CC Hennix, Malmö Konsthall, 2026
Photo: Helene Toresdotter

The exhibition is a collaboration between Malmö Konsthall, Badischer Kunstverein (Karlsruhe), Blank Forms (New York), and Empty Gallery (Hong Kong/Berlin). Curatorial team: Lawrence Kumpf, Mats Stjernstedt, Anna Kindvall, and Benjamin McIntosh.

CC Hennix is on view at Malmö Konsthall until May 17, 2026. Malmö Konsthall presents an exhibition showcasing the visual and sound art of Catherine Christer Hennix. While Hennix is best known as a musician and composer of long-form drone compositions, her creative practice extended far beyond music, engaging significant artistic and intellectual conversations of the 20th century.

@malmokonsthall 

Installation views: CC Hennix, Malmö Konsthall, 2026
Photo: Helene Toresdotter

The exhibition is a collaboration between Malmö Konsthall, Badischer Kunstverein (Karlsruhe), Blank Forms (New York), and Empty Gallery (Hong Kong/Berlin). Curatorial team: Lawrence Kumpf, Mats Stjernstedt, Anna Kindvall, and Benjamin McIntosh.

CC Hennix is on view at Malmö Konsthall until May 17, 2026. Malmö Konsthall presents an exhibition showcasing the visual and sound art of Catherine Christer Hennix. While Hennix is best known as a musician and composer of long-form drone compositions, her creative practice extended far beyond music, engaging significant artistic and intellectual conversations of the 20th century.

@malmokonsthall 

Installation views: CC Hennix, Malmö Konsthall, 2026
Photo: Helene Toresdotter

The exhibition is a collaboration between Malmö Konsthall, Badischer Kunstverein (Karlsruhe), Blank Forms (New York), and Empty Gallery (Hong Kong/Berlin). Curatorial team: Lawrence Kumpf, Mats Stjernstedt, Anna Kindvall, and Benjamin McIntosh.

CC Hennix is on view at Malmö Konsthall until May 17, 2026. Malmö Konsthall presents an exhibition showcasing the visual and sound art of Catherine Christer Hennix. While Hennix is best known as a musician and composer of long-form drone compositions, her creative practice extended far beyond music, engaging significant artistic and intellectual conversations of the 20th century.

@malmokonsthall 

Installation views: CC Hennix, Malmö Konsthall, 2026
Photo: Helene Toresdotter

The exhibition is a collaboration between Malmö Konsthall, Badischer Kunstverein (Karlsruhe), Blank Forms (New York), and Empty Gallery (Hong Kong/Berlin). Curatorial team: Lawrence Kumpf, Mats Stjernstedt, Anna Kindvall, and Benjamin McIntosh.

CC Hennix is on view at Malmö Konsthall until May 17, 2026. Malmö Konsthall presents an exhibition showcasing the visual and sound art of Catherine Christer Hennix. While Hennix is best known as a musician and composer of long-form drone compositions, her creative practice extended far beyond music, engaging significant artistic and intellectual conversations of the 20th century.

@malmokonsthall 

Installation views: CC Hennix, Malmö Konsthall, 2026
Photo: Helene Toresdotter

The exhibition is a collaboration between Malmö Konsthall, Badischer Kunstverein (Karlsruhe), Blank Forms (New York), and Empty Gallery (Hong Kong/Berlin). Curatorial team: Lawrence Kumpf, Mats Stjernstedt, Anna Kindvall, and Benjamin McIntosh.

CC Hennix is on view at Malmö Konsthall until May 17, 2026. Malmö Konsthall presents an exhibition showcasing the visual and sound art of Catherine Christer Hennix. While Hennix is best known as a musician and composer of long-form drone compositions, her creative practice extended far beyond music, engaging significant artistic and intellectual conversations of the 20th century.

@malmokonsthall 

Installation views: CC Hennix, Malmö Konsthall, 2026
Photo: Helene Toresdotter

The exhibition is a collaboration between Malmö Konsthall, Badischer Kunstverein (Karlsruhe), Blank Forms (New York), and Empty Gallery (Hong Kong/Berlin). Curatorial team: Lawrence Kumpf, Mats Stjernstedt, Anna Kindvall, and Benjamin McIntosh.

Tishan Hsu is participating in New Humans: Memories of the Future inaugurates the New Museum’s expanded building with an exploration of artists’ enduring preoccupation with what it means to be human in the face of sweeping technological changes. New Humans will trace a diagonal history of the twentieth and twenty-first centuries through the work of more than 200 international artists, writers, scientists, architects, and filmmakers, highlighting key moments when dramatic technological and social changes spurred new conceptions of humanity and new visions for its possible futures.

Installation view: New Humans: Memories of the Future, 2026. New Museum, New York.
Courtesy New Museum. Photo: Dario Lasagni

@tishanhsu @newmuseum

Tishan Hsu is participating in New Humans: Memories of the Future inaugurates the New Museum’s expanded building with an exploration of artists’ enduring preoccupation with what it means to be human in the face of sweeping technological changes. New Humans will trace a diagonal history of the twentieth and twenty-first centuries through the work of more than 200 international artists, writers, scientists, architects, and filmmakers, highlighting key moments when dramatic technological and social changes spurred new conceptions of humanity and new visions for its possible futures.

Installation view: New Humans: Memories of the Future, 2026. New Museum, New York.
Courtesy New Museum. Photo: Dario Lasagni

@tishanhsu @newmuseum

rEceNt WoRkS by Jutta Koether is on view until June 20, 2026. Photography by Felix SC Wong @felixscimagery 

In rEceNt WoRkS, Koether has created a suite of interconnected paintings which respond to the provocation of Empty Gallery’s unique spatial model. These new paintings primarily adopt the form of the triptych, conceptualizing each narrow panel as a physically separate but thematically interdependent monad. Within these shimmering fields of self-reference, we recognize a sprinkling of iconic forms—orbs and garlands, slashes and ribbons, fleshy flowers and gem-like portals. Past motifs and mannerisms jostle one another, creating new forms from the old—an unruly chorus of Koether-isms. Alternatingly dense and diaphanous, they contain unstable allusions to figures as varied as Alberto Giacometti, Emily Bronte, The Mustard Seed Garden Manual of Painting, and countless others.

rEceNt WoRkS by Jutta Koether is on view until June 20, 2026. Photography by Felix SC Wong @felixscimagery 

In rEceNt WoRkS, Koether has created a suite of interconnected paintings which respond to the provocation of Empty Gallery’s unique spatial model. These new paintings primarily adopt the form of the triptych, conceptualizing each narrow panel as a physically separate but thematically interdependent monad. Within these shimmering fields of self-reference, we recognize a sprinkling of iconic forms—orbs and garlands, slashes and ribbons, fleshy flowers and gem-like portals. Past motifs and mannerisms jostle one another, creating new forms from the old—an unruly chorus of Koether-isms. Alternatingly dense and diaphanous, they contain unstable allusions to figures as varied as Alberto Giacometti, Emily Bronte, The Mustard Seed Garden Manual of Painting, and countless others.

rEceNt WoRkS by Jutta Koether is on view until June 20, 2026. Photography by Felix SC Wong @felixscimagery 

In rEceNt WoRkS, Koether has created a suite of interconnected paintings which respond to the provocation of Empty Gallery’s unique spatial model. These new paintings primarily adopt the form of the triptych, conceptualizing each narrow panel as a physically separate but thematically interdependent monad. Within these shimmering fields of self-reference, we recognize a sprinkling of iconic forms—orbs and garlands, slashes and ribbons, fleshy flowers and gem-like portals. Past motifs and mannerisms jostle one another, creating new forms from the old—an unruly chorus of Koether-isms. Alternatingly dense and diaphanous, they contain unstable allusions to figures as varied as Alberto Giacometti, Emily Bronte, The Mustard Seed Garden Manual of Painting, and countless others.

rEceNt WoRkS by Jutta Koether is on view until June 20, 2026. Photography by Felix SC Wong @felixscimagery 

In rEceNt WoRkS, Koether has created a suite of interconnected paintings which respond to the provocation of Empty Gallery’s unique spatial model. These new paintings primarily adopt the form of the triptych, conceptualizing each narrow panel as a physically separate but thematically interdependent monad. Within these shimmering fields of self-reference, we recognize a sprinkling of iconic forms—orbs and garlands, slashes and ribbons, fleshy flowers and gem-like portals. Past motifs and mannerisms jostle one another, creating new forms from the old—an unruly chorus of Koether-isms. Alternatingly dense and diaphanous, they contain unstable allusions to figures as varied as Alberto Giacometti, Emily Bronte, The Mustard Seed Garden Manual of Painting, and countless others.

rEceNt WoRkS by Jutta Koether is on view until June 20, 2026. Photography by Felix SC Wong @felixscimagery 

In rEceNt WoRkS, Koether has created a suite of interconnected paintings which respond to the provocation of Empty Gallery’s unique spatial model. These new paintings primarily adopt the form of the triptych, conceptualizing each narrow panel as a physically separate but thematically interdependent monad. Within these shimmering fields of self-reference, we recognize a sprinkling of iconic forms—orbs and garlands, slashes and ribbons, fleshy flowers and gem-like portals. Past motifs and mannerisms jostle one another, creating new forms from the old—an unruly chorus of Koether-isms. Alternatingly dense and diaphanous, they contain unstable allusions to figures as varied as Alberto Giacometti, Emily Bronte, The Mustard Seed Garden Manual of Painting, and countless others.

rEceNt WoRkS by Jutta Koether is on view until June 20, 2026. Photography by Felix SC Wong @felixscimagery 

In rEceNt WoRkS, Koether has created a suite of interconnected paintings which respond to the provocation of Empty Gallery’s unique spatial model. These new paintings primarily adopt the form of the triptych, conceptualizing each narrow panel as a physically separate but thematically interdependent monad. Within these shimmering fields of self-reference, we recognize a sprinkling of iconic forms—orbs and garlands, slashes and ribbons, fleshy flowers and gem-like portals. Past motifs and mannerisms jostle one another, creating new forms from the old—an unruly chorus of Koether-isms. Alternatingly dense and diaphanous, they contain unstable allusions to figures as varied as Alberto Giacometti, Emily Bronte, The Mustard Seed Garden Manual of Painting, and countless others.

rEceNt WoRkS by Jutta Koether is on view until June 20, 2026. Photography by Felix SC Wong @felixscimagery 

In rEceNt WoRkS, Koether has created a suite of interconnected paintings which respond to the provocation of Empty Gallery’s unique spatial model. These new paintings primarily adopt the form of the triptych, conceptualizing each narrow panel as a physically separate but thematically interdependent monad. Within these shimmering fields of self-reference, we recognize a sprinkling of iconic forms—orbs and garlands, slashes and ribbons, fleshy flowers and gem-like portals. Past motifs and mannerisms jostle one another, creating new forms from the old—an unruly chorus of Koether-isms. Alternatingly dense and diaphanous, they contain unstable allusions to figures as varied as Alberto Giacometti, Emily Bronte, The Mustard Seed Garden Manual of Painting, and countless others.

rEceNt WoRkS by Jutta Koether is on view until June 20, 2026. Photography by Felix SC Wong @felixscimagery 

In rEceNt WoRkS, Koether has created a suite of interconnected paintings which respond to the provocation of Empty Gallery’s unique spatial model. These new paintings primarily adopt the form of the triptych, conceptualizing each narrow panel as a physically separate but thematically interdependent monad. Within these shimmering fields of self-reference, we recognize a sprinkling of iconic forms—orbs and garlands, slashes and ribbons, fleshy flowers and gem-like portals. Past motifs and mannerisms jostle one another, creating new forms from the old—an unruly chorus of Koether-isms. Alternatingly dense and diaphanous, they contain unstable allusions to figures as varied as Alberto Giacometti, Emily Bronte, The Mustard Seed Garden Manual of Painting, and countless others.

rEceNt WoRkS by Jutta Koether is on view until June 20, 2026. Photography by Felix SC Wong @felixscimagery 

In rEceNt WoRkS, Koether has created a suite of interconnected paintings which respond to the provocation of Empty Gallery’s unique spatial model. These new paintings primarily adopt the form of the triptych, conceptualizing each narrow panel as a physically separate but thematically interdependent monad. Within these shimmering fields of self-reference, we recognize a sprinkling of iconic forms—orbs and garlands, slashes and ribbons, fleshy flowers and gem-like portals. Past motifs and mannerisms jostle one another, creating new forms from the old—an unruly chorus of Koether-isms. Alternatingly dense and diaphanous, they contain unstable allusions to figures as varied as Alberto Giacometti, Emily Bronte, The Mustard Seed Garden Manual of Painting, and countless others.

rEceNt WoRkS by Jutta Koether is on view until June 20, 2026. Photography by Felix SC Wong @felixscimagery 

In rEceNt WoRkS, Koether has created a suite of interconnected paintings which respond to the provocation of Empty Gallery’s unique spatial model. These new paintings primarily adopt the form of the triptych, conceptualizing each narrow panel as a physically separate but thematically interdependent monad. Within these shimmering fields of self-reference, we recognize a sprinkling of iconic forms—orbs and garlands, slashes and ribbons, fleshy flowers and gem-like portals. Past motifs and mannerisms jostle one another, creating new forms from the old—an unruly chorus of Koether-isms. Alternatingly dense and diaphanous, they contain unstable allusions to figures as varied as Alberto Giacometti, Emily Bronte, The Mustard Seed Garden Manual of Painting, and countless others.

Katsura Mouri
Hieroglyphic Being
Doula
Mina Mills

28.03.2026

❤️‍🔥

Design by @visio____

Closing soon: Chan Hau Chun’s《記憶座標》 Map of Traces is on view at Cushion Works in San Francisco until April 4, 2026. @cushion_works_and_friends

Photography by Phillip Maisel @phillipmaisel

🍃 Public program: 
On Map of Traces
With With Karen Cheung, Laura Figa, and Brian Ng
Tuesday, March 31, 6pm

A collection of local artists and writers reflect on Map of Traces, the film at the center of Chan Hau Chun’s current exhibition at Cushion Works. The 29-minute work screens at 6pm, followed by brief prepared responses from each participant. A collective question and answer period will open the conversation to the room.

Map of Traces draws on several moving image traditions—including the essay film, social documentary, city symphony, dream sequence, and, in its own curious way, the road movie—to forge a uniquely poetic and elusive language. Set against the dizzying social, political, technological, and emotional backdrop of Hong Kong, the work documents recent changes to the city through the lives of several of its inhabitants, each bound to the artist in a different relationship. Mourning and surveillance loom large, as do multiple forms of exile. The film resists capture by slowing the pace of what we often call “current events” and embracing ambiguity and fragmentation. Map of Traces is the rare protest film that tells the truth about subjectivity.

Participants have been invited to reflect on any aspect of the film they choose, and are uniquely suited to keep pace with its complexities.

Read more at our link in bio.

Closing soon: Chan Hau Chun’s《記憶座標》 Map of Traces is on view at Cushion Works in San Francisco until April 4, 2026. @cushion_works_and_friends

Photography by Phillip Maisel @phillipmaisel

🍃 Public program: 
On Map of Traces
With With Karen Cheung, Laura Figa, and Brian Ng
Tuesday, March 31, 6pm

A collection of local artists and writers reflect on Map of Traces, the film at the center of Chan Hau Chun’s current exhibition at Cushion Works. The 29-minute work screens at 6pm, followed by brief prepared responses from each participant. A collective question and answer period will open the conversation to the room.

Map of Traces draws on several moving image traditions—including the essay film, social documentary, city symphony, dream sequence, and, in its own curious way, the road movie—to forge a uniquely poetic and elusive language. Set against the dizzying social, political, technological, and emotional backdrop of Hong Kong, the work documents recent changes to the city through the lives of several of its inhabitants, each bound to the artist in a different relationship. Mourning and surveillance loom large, as do multiple forms of exile. The film resists capture by slowing the pace of what we often call “current events” and embracing ambiguity and fragmentation. Map of Traces is the rare protest film that tells the truth about subjectivity.

Participants have been invited to reflect on any aspect of the film they choose, and are uniquely suited to keep pace with its complexities.

Read more at our link in bio.

Come find us at booth 3D10 for the last two days of Art Basel Hong Kong. We are showing works by Doris Guo, Richard Hawkins, Tishan Hsu, Taro Masushio, Henry Shum, Vunkwan Tam, and Cici Wu.

Installation views by Felix S.C. Wong.

Artwork close ups:
Doris Guo, Oslo-S, Torshov Bull, c-prints, both 2025
Taro Masushio, Untitled (Crash), 2025, black-and-white digital video, on loop
Vunkwan Tam, There must be more to life than having everything, 2026, snow sledge, chair legs, cast iron pipes

Come find us at booth 3D10 for the last two days of Art Basel Hong Kong. We are showing works by Doris Guo, Richard Hawkins, Tishan Hsu, Taro Masushio, Henry Shum, Vunkwan Tam, and Cici Wu.

Installation views by Felix S.C. Wong.

Artwork close ups:
Doris Guo, Oslo-S, Torshov Bull, c-prints, both 2025
Taro Masushio, Untitled (Crash), 2025, black-and-white digital video, on loop
Vunkwan Tam, There must be more to life than having everything, 2026, snow sledge, chair legs, cast iron pipes

Come find us at booth 3D10 for the last two days of Art Basel Hong Kong. We are showing works by Doris Guo, Richard Hawkins, Tishan Hsu, Taro Masushio, Henry Shum, Vunkwan Tam, and Cici Wu.

Installation views by Felix S.C. Wong.

Artwork close ups:
Doris Guo, Oslo-S, Torshov Bull, c-prints, both 2025
Taro Masushio, Untitled (Crash), 2025, black-and-white digital video, on loop
Vunkwan Tam, There must be more to life than having everything, 2026, snow sledge, chair legs, cast iron pipes

Come find us at booth 3D10 for the last two days of Art Basel Hong Kong. We are showing works by Doris Guo, Richard Hawkins, Tishan Hsu, Taro Masushio, Henry Shum, Vunkwan Tam, and Cici Wu.

Installation views by Felix S.C. Wong.

Artwork close ups:
Doris Guo, Oslo-S, Torshov Bull, c-prints, both 2025
Taro Masushio, Untitled (Crash), 2025, black-and-white digital video, on loop
Vunkwan Tam, There must be more to life than having everything, 2026, snow sledge, chair legs, cast iron pipes

Come find us at booth 3D10 for the last two days of Art Basel Hong Kong. We are showing works by Doris Guo, Richard Hawkins, Tishan Hsu, Taro Masushio, Henry Shum, Vunkwan Tam, and Cici Wu.

Installation views by Felix S.C. Wong.

Artwork close ups:
Doris Guo, Oslo-S, Torshov Bull, c-prints, both 2025
Taro Masushio, Untitled (Crash), 2025, black-and-white digital video, on loop
Vunkwan Tam, There must be more to life than having everything, 2026, snow sledge, chair legs, cast iron pipes

Come find us at booth 3D10 for the last two days of Art Basel Hong Kong. We are showing works by Doris Guo, Richard Hawkins, Tishan Hsu, Taro Masushio, Henry Shum, Vunkwan Tam, and Cici Wu.

Installation views by Felix S.C. Wong.

Artwork close ups:
Doris Guo, Oslo-S, Torshov Bull, c-prints, both 2025
Taro Masushio, Untitled (Crash), 2025, black-and-white digital video, on loop
Vunkwan Tam, There must be more to life than having everything, 2026, snow sledge, chair legs, cast iron pipes

Come find us at booth 3D10 for the last two days of Art Basel Hong Kong. We are showing works by Doris Guo, Richard Hawkins, Tishan Hsu, Taro Masushio, Henry Shum, Vunkwan Tam, and Cici Wu.

Installation views by Felix S.C. Wong.

Artwork close ups:
Doris Guo, Oslo-S, Torshov Bull, c-prints, both 2025
Taro Masushio, Untitled (Crash), 2025, black-and-white digital video, on loop
Vunkwan Tam, There must be more to life than having everything, 2026, snow sledge, chair legs, cast iron pipes

Come find us at booth 3D10 for the last two days of Art Basel Hong Kong. We are showing works by Doris Guo, Richard Hawkins, Tishan Hsu, Taro Masushio, Henry Shum, Vunkwan Tam, and Cici Wu.

Installation views by Felix S.C. Wong.

Artwork close ups:
Doris Guo, Oslo-S, Torshov Bull, c-prints, both 2025
Taro Masushio, Untitled (Crash), 2025, black-and-white digital video, on loop
Vunkwan Tam, There must be more to life than having everything, 2026, snow sledge, chair legs, cast iron pipes

Come find us at booth 3D10 for the last two days of Art Basel Hong Kong. We are showing works by Doris Guo, Richard Hawkins, Tishan Hsu, Taro Masushio, Henry Shum, Vunkwan Tam, and Cici Wu.

Installation views by Felix S.C. Wong.

Artwork close ups:
Doris Guo, Oslo-S, Torshov Bull, c-prints, both 2025
Taro Masushio, Untitled (Crash), 2025, black-and-white digital video, on loop
Vunkwan Tam, There must be more to life than having everything, 2026, snow sledge, chair legs, cast iron pipes

Grateful for our exhibition rEceNt WoRkS by Jutta Koether to be featured in this roundup by @mercedeshutton for the @nytimes alongside our friends at Para Site, M+ Museum and more.

Read the full article at our link in our bio. 

Our gallery is open today until 11PM, Friday until 7PM, Saturday until 1AM. See you soon!

Grateful for our exhibition rEceNt WoRkS by Jutta Koether to be featured in this roundup by @mercedeshutton for the @nytimes alongside our friends at Para Site, M+ Museum and more.

Read the full article at our link in our bio. 

Our gallery is open today until 11PM, Friday until 7PM, Saturday until 1AM. See you soon!

Grateful for our exhibition rEceNt WoRkS by Jutta Koether to be featured in this roundup by @mercedeshutton for the @nytimes alongside our friends at Para Site, M+ Museum and more.

Read the full article at our link in our bio. 

Our gallery is open today until 11PM, Friday until 7PM, Saturday until 1AM. See you soon!