{"id":39669,"date":"2026-03-27T09:55:11","date_gmt":"2026-03-27T09:55:11","guid":{"rendered":"https:\/\/www.europesays.com\/ch\/39669\/"},"modified":"2026-03-27T09:55:11","modified_gmt":"2026-03-27T09:55:11","slug":"8-galleries-to-look-out-for-at-art-basel-hong-kong-2026","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ch\/39669\/","title":{"rendered":"8 galleries to look out for at Art Basel Hong Kong 2026"},"content":{"rendered":"

With hundreds of exhibitors across sectors, navigating Art Basel Hong Kong 2026 can feel overwhelming at first. Now open to the public from March 27 to 29, the fair is in full swing, with some of the year\u2019s most compelling presentations on view. Amid the scale, a number of galleries stand out for how they shape the experience. From immersive installations to tightly curated booths, here are eight to look out for<\/p>\n

Perrotin<\/p>\n

\"\"Photo: Perrotin<\/p>\n

At Perrotin, the presentation moves between large-scale installations and a wide-ranging roster of artists. Lauren Tsai\u2019s immersive installation \u201cPoison Little Girl\u201d anchors the booth, marking her first collaboration with the gallery and unfolding as a psychologically charged, narrative-driven space. Just beyond the booth, Steph Huang\u2019s \u201cGrafting,\u201d presented in the Encounters sector, builds a tactile, architectural installation that explores cultural hybridity. Meanwhile, a solo focus on Mehdi Ghadyanloo sits alongside works by Takashi Murakami and Maurizio Cattelan, creating a dialogue that moves across media, scale and tone.<\/p>\n

Asprey Studio<\/p>\n

\"\"Photo: Instagram @timyipstime<\/p>\n

Blurring the line between physical and digital practices, Asprey Studio presents a multimedia showcase in the Zero 10 sector, anchored by Tim Yip\u2019s \u201cLili,\u201d a monumental 4.5-metre sculpture that explores memory and projection through a dystopian, humanlike figure. Around it, the booth unfolds through Qu Leilei\u2019s ink works and All Seeing Seneca\u2019s sculptural explorations of cultural identity, while Jack Butcher\u2019s \u201cWork and Luck\u201d translates digital concepts into handcrafted silver forms.<\/p>\n

De Sarthe Gallery<\/p>\n

\"\"Photo: De Sarthe Gallery<\/p>\n

A more tightly framed presentation emerges at de Sarthe Gallery, where a dedicated Kabinett spotlights Bernar Venet. Pairing one of his iconic steel sculptures with a series of autonomous charcoal drawings, the display highlights his rigorous, conceptual approach to geometry and material. Beyond this, the gallery\u2019s wider presentation brings together artists including Chan Ka Kiu, Lov-Lov, Caison Wang and Zhong Wei, whose works engage with digital culture while remaining grounded in physical form.<\/p>\n

Galerie du Monde<\/p>\n

\"\"Photo: Instagram @galeriedumonde<\/p>\n

One of the fair\u2019s more performative moments unfolds at Galerie du Monde, where Kongkee presents \u201cPrice \/ Value \/ Taotie\u201d in the Encounters sector. Anchored by neon works that stage a choice between \u201cprice\u201d and \u201cvalue,\u201d the project examines the tension between art and commodification. In a live performance, collectors must choose one, with the other destroyed on site, turning the transaction into the work itself. Drawing on the myth of Taotie, a symbol of insatiable desire, the piece reflects on consumption and techno-capitalism. Alongside this, a Kabinett solo of Tang Chang highlights his calligraphy-driven abstractions, where painting and writing converge.<\/p>\n

UBS Art Studio<\/p>\n

\"\"Photo: UBS<\/p>\n

Few presentations offer a pause quite like the UBS Art Studio. Centred on Hong Kong artist Chan Wai Lap\u2019s \u201cMimimomo Pool,\u201d the immersive installation reimagines the swimming pool as a shared, contemplative space. Known for exploring public space, memory and personal identity, Chan brings this recurring motif into physical form \u2013 its title, a Cantonese term meaning \u201cslowly,\u201d reflecting the work\u2019s intent to slow the pace of the fair gently. Beyond this, the UBS Lounge presents \u201cBeyond Pop: Art of the Everyday,\u201d featuring 20 international artists including Andy Warhol, Roy Lichtenstein and Ed Ruscha, while UBS One continues the theme through Michael Craig-Martin\u2019s \u201cFolio\u201d series.<\/p>\n

Silverlens<\/p>\n

\"\"Photo: Instagram @silverlensgallery<\/p>\n

A quieter, more atmospheric experience unfolds at Silverlens, where \u201cWitness\u201d by Geraldine Javier takes over the Encounters sector. Composed of tree-like textile columns, the installation uses a sustainable process in which steamed plant matter merges with fabric, embedding material and memory into its surface. Recently shown at the Helsinki Biennial, the work reflects on ecology and climate through a restrained, sensory language, alongside works by Pacita Abad and Yee I-Lann.<\/p>\n

P21<\/p>\n

\"\"Photo: Instagram @p21.kr<\/p>\n

In the Discoveries sector, P21 offers one of the most focused presentations at the fair. Seoul-based artist Yaerim Ryu\u2019s solo booth unfolds around a fictional Neanderthal figure named \u201cPeter,\u201d turning painting and sculpture into a speculative excavation. Through layered surfaces and archaeological references, the works treat image-making as a record of time, where gesture, material and memory accumulate into something both physical and imagined.<\/p>\n

Also see: Indonesian artist Bagus Pandega on exploring progress and preservation<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"With hundreds of exhibitors across sectors, navigating Art Basel Hong Kong 2026 can feel overwhelming at first. Now…\n","protected":false},"author":2,"featured_media":39670,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[1377,13742,16134,77],"class_list":{"0":"post-39669","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-basel","8":"tag-art-basel","9":"tag-art-basel-hong-kong","10":"tag-art-basel-hong-kong-2026","11":"tag-basel"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@ch\/116300541485761988","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/posts\/39669","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/comments?post=39669"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/posts\/39669\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/media\/39670"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/media?parent=39669"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/categories?post=39669"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/tags?post=39669"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}