Open Mind

Untitled (Grate I/II: Shan Mei Playground/ Grand Fortune Mansion) is part of a series drawn from architectural objects that mark the boundary of public and private spaces Wong encountered while strolling in Hong Kong...

One Million is a video work depicting the counting of bills...

Hako (2006) depicts a mysterious and dystopic landscape where the world becomes flat: distance between different spaces, depth of field and three-dimensional perceptions are canceled...

Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...

Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...

Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...

Concerned with the early history of Singapore, Zai Kuning spent many years living with and researching the history of the Riau peoples who were the first inhabitants of Singapore...

His Deck Painting I recalls the simplistic stripes of conceptual artist Daniel Buren, or the minimal lines of twentieth century abstract painting, but is in reality a readymade, fashioned from repurposed fabric of deck chairs...

In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...

The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...

Ghost Games , follows the enigmatic dance of crabs “steered” by a flashlight in the night of darkness of a South American beach...

Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...

Telescopic Pole is an adjustable telescopic pole that extends vertically from floor to ceiling and is held up by its own internal pressure...

Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...

State Terrorism in the ultimate form of Pre-Raphaelite Brotherhood features a portrait of the artist wearing a zipped utilitarian jacket reminiscent of a worker’s uniform, with one arm behind his back as if forced to ingest a bundle of stick—a literal portrayal to the definition of fascism...

Barbara Kasten’s Studio Construct 51 depicts an abstract still life: a greyscale photograph of clear translucent panes assembled into geometric forms, the hard lines of their edges converging and bisecting at various points...

Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...

The image of rusted nails, nuts and bolts as shrapnel sandwiched between a fried Chicken burger highlights the contrast between decadence and destruction...

Converting is a piece about the Orang Laut, often called Sea Nomads, that inhabited the Riau archipelago...