Mi Fu (Chinese, 1051–1107), Poem Written in a Boat on the Wu River (detail), Northern Song dynasty (960–1127), ca. 1095. Handscroll; ink on paper. The Metropolitan Museum of Art, New York, Gift of John M. Crawford Jr., in honor of Professor Wen Fong, 1984 (1984.174)

Before the hustle and bustle of the holiday season takes over, take a moment to enjoy some respite among The Metropolitan Museum of Art’s magnificent exhibitions. Be sure to explore their newly opened Chinese Painting and Calligraphy: Selections from the Collection, featuring a rich array of works arranged largely in chronological order. In the final gallery, don’t miss a special presentation of a significant group of fans on view for the very first time.

Also, catch Ganesha: Lord of New Beginnings before it closes January 4, 2026. With 24 works spanning sculpture, painting, musical instruments, ritual objects, and photography, the exhibition celebrates Ganesha’s vitality and role as the bringer of new beginnings.

Plan a visit soon and let yourself be inspired by these extraordinary works of art!

Chinese Painting and Calligraphy: Selections from the Collection
Through May 31, 2026
Galleries 210–216

The Met acquired its first Chinese painting in 1902. Since then, the Museum has added more than two thousand works of painting and calligraphy, building one of the most comprehensive collections in the world. Spanning fifteen hundred years of cultural production and featuring a variety of genres, techniques, and styles, The Met’s collection has become a key resource for the study of Chinese painting and calligraphy. This exhibition presents a rich selection of works from the collection arranged in a largely chronological display.

The final gallery tells the story of Wen C. Fong (1930–2018), chairman of the Museum’s Department of Asian Art from 1971 to 2000, and his teacher Li Jian (1881–1956). As a young calligraphy prodigy in Shanghai in the 1940s, Fong studied brush arts with Li. The display centers on a group of fans, painted and written by Li, that were intended to transmit the canonical models of the classical tradition from teacher to student. Brought to the United States in 1949 and treasured by the Fong family since then, these fans are presented publicly for the first time.

To learn more, click here.

Seated Ganesha (detail), India, Odisha, 16th century. Ivory, H. 7 1 in. (18.4 cm). The Metropolitan Museum of Art, New York. Gift of Mr. and Mrs. J. J. Klejman, 1964 (64.102)]

Ganesha: Lord of New Beginnings
Through January 4, 2026
Gallery 251

Ganesha, the son of Shiva and Parvati, is a Brahmanical (Hindu) diety known to clear a path to the gods and remove obstacles in everyday life. He is loved by his devotees (bhakti) for his many traits, including his insatiable appetite for sweet cakes and his role as a dispenser of magic, surprise, and laughter. However, Ganesha is also the lord of ganas (nature deities) and can take on a fearsome aspect in this guise.

The seventh- to twenty-first-century works in this exhibition trace his depiction across the Indian subcontinent, the Himalayas, and Southeast Asia. Featuring 24 works across sculptures, paintings, musical instruments, ritual implements, and photography, the exhibition emphasizes the vitality and exuberance of Ganesha as the bringer of new beginnings.

To learn more, click here.

Kunisada: Lady Yu, Chinese Warrior, Dressed for Battle and Holding a Weapon 楚項羽妻 虞氏

Egenolf Gallery Japanese Prints is pleased to share their newest acquisitions this holiday season. Specializing in fine Japanese woodblock prints and drawings—from the pioneering artists of 17th-century ukiyo-e to the celebrated shin hanga masters of the 20th century—they are delighted to present an exceptional selection of works.

New treasures are added daily, so visit often and discover something inspiring each time!

To view the latest prints, click here.

Chikanobu: Fukujuso; Women Buying Adonis Plant at a Night Market

Looking for the perfect gift? Also explore their Holiday Gift Ideas, featuring a curated selection of works under $1,000—timeless pieces that are sure to delight for years to come. With 2-day shipping available, your gift can arrive quickly, just in time for the season!

To view Holiday Gift Ideas, click here.

Installation view, Art Basel Miami, 2025

Art Basel Miami
December 5–7, 2025
Booth D04
Miami Beach Convention Center

Over the past four decades, Alisan Fine Arts’ mission has been to introduce global audiences to Chinese diaspora artists. Their expansion to New York in 2023 reinforced their commitment to showcasing Chinese and Asian artists living and working in the US, many of whom were overlooked during their lifetimes. It is a longstanding goal of the gallery to not only connect the artists whom they worked with in the 1980s with a new generation of artists working here today, but also to provide a platform for these artists moving forward.

For Art Basel Miami, they are excited to present the work of six Chinese American artists, Chinyee, Fong Chung-Ray, Walasse Ting, Ming Fay, Yifan Jiang, and Kelly Wang, alongside Chinese Diaspora artists Justin Lim (Malaysia) and Fu Xiaotong (Berlin). Spanning two generations, this group of artists showcases the rich ongoing history of Asian Diasporic art. Recent institutional interest in their work, both in the US and Europe, is a testament not only to the individual artists’ work, but also to the cultural importance of their collective voices in the contemporary art world.

To learn more, click here.

To learn more about the fair, click here.

Kang Seok Ho, Untitled, 2012, oil on canvas, 24 x 31 1/8 in (61 x 79 cm); Copyright The Artist

Art Basel Miami
December 5–7, 2025
Booth D25
Miami Beach Convention Center

Be sure to visit Tina Kim Gallery at Art Basel Miami from December 5–7 for a presentation that reflects the breadth of their modern and contemporary program, highlighting artists with recent and forthcoming exhibitions, publications, and institutional recognition. Drawing upon the diverse traditions, landscapes, and histories that inform their experiences, the artists featured in their presentation use material as a site to articulate themes such as migration, memory, the environment, and spatiality.

To learn more, click here.

To learn more about the fair, click here.

The Frick Collection

Asia Week New York is delighted to welcome The Frick Collection to our network of world-class institutions! Founded by industrialist Henry Clay Frick (1849–1919) and opened to the public in 1935, the museum is celebrated for its intimate, domestic setting and its extraordinary collection of paintings, sculpture, and decorative arts. The Frick’s significance lies not only in the quality of its artworks but also in the way they are displayed, preserving the character of a private home and offering visitors a rare, immersive experience of art, architecture, and history intertwined.

The recently renovated Frick Collection represents a milestone in the museum’s history, combining restored historic interiors with expanded galleries and modern amenities. This first comprehensive upgrade since 1935 allows visitors to experience the collection with greater depth and accessibility, while maintaining the mansion’s original Gilded Age charm.

Two Figures of Ladies on Stands, Chinese, Qing Dynasty (1644−1911), Kangxi Period (1662−1722), hard-paste porcelain with polychrome overglaze, 38 × 10 1/4 × 10 1/4 in. (96.5 × 26 × 26 cm)

Valued for their craftsmanship and harmony with the European masterworks, the Frick’s Asian Art holdings focus primarily on Chinese decorative arts, including blue-and-white and famille verte porcelain, Qing dynasty porcelain and jades, lacquerware, and bronze vessels. Select Japanese and Indian works, such as lacquer, metalwork, and miniatures, further reflect Frick’s interest in global artistry and contribute to the museum’s distinctive blend of cultures, materials, and historical periods.

Among the highlights of the Frick’s Asian holdings is this pair of porcelain figures of elegant ladies, created during a particularly innovative period in the late seventeenth and early eighteenth centuries, when overglaze enamel techniques—known as famille verte for their dominant green tones—were developed. The figures feature vibrant glazes in naturalistic motifs such as chrysanthemums, roses, and flying storks, alongside abstract elements like the wan, a Buddhist symbol of good fortune. The women represent ideal female beauty, as defined by the seventeenth-century writer and aesthetician Li Yu (1611–1680) with egg-shaped faces, willow-like eyebrows and bodies, cherry-like lips, and delicate hands offering a fruit or flower—a traditional sign of good wishes. Likely made for export to the West, their large, fragile form meant only a few ever reached Europe. On view on the first floor in Room 10, Living Hall, be sure to see these remarkable works for yourself!

To plan your visit, click here.

Kenji Nakahashi (Japanese, 1947–2017), Time (B), 1980; printed 1985, gelatin silver print, image: 10 in x 13 in; sheet: 10 15/16 in x 14 in, Anonymous gift in memory of Kenji Nakahashi, All rights reserved © Center for Creative Photography, Arizona Board of Regents, permissions needed, 2022.44.12

Kenji Nakahashi: Between Things
November 20, 2025 – November 20, 2026

The Portland Art Museum is delighted to present Kenji Nakahashi: Between Things, showcasing newly acquired works being exhibited for the first time.

Japanese photographer Kenji Nakahashi (1947–2017) moved to New York City in 1973, finding in the city the creative inspiration that would sustain his practice for the rest of his life. Both playful and profound, his conceptual approach to photography posed questions about everyday objects, materials, and surfaces. From the mundane, his images raise meaningful questions about the distance or difference between things, and about the relationship between parts of a whole. Alongside Nakahashi’s photographs, a selection of tea bowls by contemporary Japanese ceramicists invites viewers to consider Nakahashi’s questions in another, very different medium.

To learn more, click here.

Furosaki Tea Screen with Net Decor, 1920s, Japan, two-panel folding screen; gold leaf and gold on paper, 18½ x 67½ in. (47 x 171.5 cm)

Design Miami 2025
December 2 – 7, 2025
Booth G21
Convention Center Drive & 19th Street, Miami Beach

Thomsen Gallery is delighted to present an exceptional selection of Japanese art from the Taisho and early Showa eras (1910–1940) during this year’s Design Miami.

They will be showcasing a remarkable collection of bamboo basketry, an art form that flourished in the 1920s and 1930s, including masterworks by Tanabe Chikuunsai, Maeda Chikubōsai, and Iizuka Rōkansai.

The baskets will be complimented by a group of gold lacquer boxes and tea caddies, contemporary ceramics, and folding screens.

If you will be in Miami Beach during the fair, Thomsen Gallery would be delighted to welcome you to Booth G-21 to share in the appreciation of these extraordinary works!

To learn more, click here.

To learn more about the fair, click here.

Utagawa Hiroshige II & Utagawa Kunisada (Toyokuni III), Thirty-Six Scenes of the Pride of Edo: Horikiri Iris Garden (Edo jiman sanjurokkyo: Horikiri hanashobu), oban tate-e 14 1/4 by 9 3/4 in. (36.1 by 24.7 cm)

Pride of Edo: Collaboration in the Capital City
November – December 2025
Online Exhibition

Scholten Japanese Art is delighted to unveil a special Online Exhibition presenting a selection of prints from the 1864 collaborative series celebrating the famous sights and culture of the historic city, Thirty-Six Scenes of the Pride of Edo (Edo jiman sanjurokkyo), featuring figures by Utagawa Toyokuni III (Kunisada, 1786-1865), set within landscapes designed by Utagawa Hiroshige II (1826-1869).

The Pride of Edo series combines several ukiyo-e tropes: images of bijin (beautiful people, mostly women), celebrating local specialties associated with meisho (famous or popular views) of the capital. Published in the twilight of the Edo Period (1600-1868), the era named after the metropolis itself, the series captures a glimpse of the city and its denizens shortly before the dramatic pivot to modernity on the not-too-distant horizon. But until then, the Edokko (residents of Edo) are depicted going about their daily lives, visiting their favorite haunts, and enjoying the familiar entertainments offered by their hometown. Most of the locations and subjects were readily recognizable to the audience at the time, featuring familiar landmarks with figures modeling up-to-date fashions whilst on their outings about town.

The series seems almost nostalgic, illustrating the traditional lifestyles of the residents of Edo, with very few visual acknowledgments of the encroaching foreigners and their influences which had been flooding through the nearby port of Yokohama for five years. Edo would be renamed Tokyo just four years hence following a violent revolution, with bloody battles fought within the city itself, and concluding with the fall of the Tokugawa shogunate. But until then, the Edokko present the best of their city, with pride.

To learn more and view the online exhibition, click here.

Hokuju (1763 – 1824), Susaki, c. 1810, woodblock print, 8 x 13 in (20.32 x 33.02 cm)

As the holiday season approaches, The Art of Japan is thrilled to present 19 stunning new acquisitions, featuring works by Keith, Yoshida, Hasui, Yoshitoshi, Shinsai, Hokuju, and a complete set of Kunisada’s Six Jewel River prints. Each piece offers a unique glimpse into the beauty, craftsmanship, and history of Japanese art.

They invite you to explore these exceptional additions and bring their stories into your collection—view them all here!

From all of us at Asia Week New York, we wish you a happy and safe Thanksgiving! May your travels be smooth, your celebrations joyful, and your holiday season inspired by the art that surrounds us!

Kota Arinaga, Netz Series, “Dappled Sunlight” 木漏れ日, 2024, Glass, H19 1/4 x W8 1/2 x D8 1/2 in, H49 x W21.5 x D21.5 cm, (C28584NP)

Design Miami 2025
Kekkai: The Space Between
December 2 – 7, 2025
Convention Center Drive & 19th Street, Miami Beach

Ippodo Gallery is delighted to present Kekkai: The Space Between at Design Miami, December 2-7, 2025. The exhibition investigates the Japanese concept of kekkai—a boundary, threshold, or interface. Rather than a mere division, they explore it as a critical site of interaction: a porous plane where materials, forms, and ideas encounter one another, creating a dynamic and transformative dialogue.

The curated selection of works examines the tangible and conceptual boundaries that structure our experience: between nature and artifice, tradition and innovation, solid and void. Featuring an international roster of Japanese and European artists, including Agnes Husz, KAKU, Kan Yasuda, Ken Matsubara, Kenta Hirai, Kodai Ujiie, Laura de Santillana, Lee Jae Hyo, Masahiro Maeda, Midori Tsukada, Mitsukuni Misaki, Shihoko Fukumoto, Ymer & Malta, and Yukiya Izumita.

Through a masterful and conscious engagement with materiality, each piece acts as a contemporary kekkai, framing the profound and poetic moments that occur in the liminal space where one state transitions to another. In response to a world saturated with noise and information, this exhibition constructs a necessary domain for contemplation, the essential “space between”. The collection invites a closer look at the boundaries—both visible and implied—that define, separate, and ultimately, connect.

They look forward to welcoming you soon to Miami Beach!

To learn more, click here.