Installation view of Zhang Xiaoli: Traveller 旅者 at Fu Qiumeng Fine Art

Zhang Xiaoli: Traveller 旅者
Closing Saturday, June 13, 2026
65 East 80th St., Ground Fl, NYC

There is still time to experience Zhang Xiaoli’s imaginative exhibition at Fu Qiumeng Fine Art before it closes on June 13.

Structured as a theatrical journey, the exhibition unfolds across four acts that invite visitors into the artist’s playful reinterpretation of Chinese pictorial traditions through the unexpected medium of LEGO® bricks. Moving between imagined landscapes, behind-the-scenes glimpses of the artist’s creative process, and opportunities for direct participation, the exhibition blurs the boundaries between viewer and creator.

Engaging, inventive, and reflective, Zhang’s work offers a fresh perspective on landscape painting, storytelling, and the act of making itself. Don’t miss this unique opportunity to step into the artist’s world before the final curtain falls.

To learn more, click here.

Melissa Bowers, Offerings Plate, lacquer and gold, 10 × 10 in. (25.4 × 25.4 cm)

Waves of Resilience
June 2 – 27, 2026
16 East 79th Street, NYC

Onishi Gallery is pleased to present “Waves of Resilience,” a tabletop collection designed by New York-based designer Melissa Bowers, in collaboration with Senshudo, a lacquer company in Wajima, Ishikawa prefecture. This eleven-piece luxury tabletop collection reflects Japan’s seas, skies, and journeys of healing, using the traditional art of lacquer to reflect the normally tranquil beauty of the earthquake-affected local landscape of Wajima and the strength of its people. As a charitable project for the city of Wajima, which has been featured in The New York Times article, Waves of Resilience supports recovery efforts. Featuring trays, plates, a vase, a bar, a coaster set, and other vessels, it merges classical techniques with contemporary aesthetics.

To learn more about the project, click here,

Krishna playing with the gopis in the Yamuna, circa 1770, India; Himachal Pradesh, Nurpur, opaque watercolor and gold on paper, Cleveland Museum of Art, Purchase and partial gift from the Catherine and Ralph Benkaim Collection; Severance and Greta Millikin Purchase Fund, 2018.118

Longing: Painting from the Pahari Kingdoms of the Northwest Himalayas
February 6 – June 7, 2026
953 Eden Park Drive

Don’t miss your chance to view Longing: Painting from the Pahari Kingdoms of the Northwest Himalayas at the Cincinnati Art Museum before it closes June 7. Featuring more than 40 works of art, the exhibition showcases vibrant court paintings from present-day India, spanning the seventeenth through nineteenth centuries. These small, portable paintings were produced for royal and noble patronage by artists practicing unique artistic techniques. Influenced by the region’s culture and politics, they portray moments of leisure, religious devotion, and political positioning, and were given as gifts between regional nobility, families, and political allies.  Many paintings portray devotional acts meant to connect with the divine; others depict individuals and couples who yearn for romantic dalliance; still others portray rulers and noblemen who longed to be at the center of political control.

Organized around the theme of “longing,” the exhibition encourages visitors to experience art as multisensorial. Select paintings are paired with olfactory stations, touch opportunities, and musical soundscapes to heighten the work’s bhava (emotion or mood) and to encourage multiple ways to physically, intellectually, and emotionally connect with art.

To learn more, click here.

Panel Discussion with The Winter Show, Shaping Taste: Asian Ceramics and the Making of American Art & Design, Courtesy The Winter Show

If you missed our special live panel discussion, Shaping Taste: Asian Ceramics and the Making of American Art & Design at The Winter Show in January, watch the newly expanded recording here.

Leading curators and historians from four American museums examined how Asian ceramics have shaped American art and design, tracing their influence from nineteenth-century collectors and decorative arts traditions to the dynamic artistic exchanges that continue to inspire contemporary practice today.

The Distinguished Panel of Experts Included:

Glenn Adamson, Independent Curator, Writer and Historian

David L. Barquist, H. Richard Dietrich, Jr., Curator of American Decorative Arts, Philadelphia Art Museum

Monika Bincsik, Diane and Arthur Abbey Curator for Japanese Decorative Arts, The Metropolitan Museum of Art

Ulysses Grant Dietz, Chief Curator, Emeritus, The Newark Museum of Art

Elizabeth A. Williams, David and Peggy Rockefeller Curator of Decorative Arts and Design, RISD Museum

Moderated by Joan B Mirviss, President, Joan B Mirviss LTD and Art Historian

Watch part one and two of this insightful discussion here!

Installation view of Lucy Liu: Hard Feelings at Alisan Fine Arts, NYC

Lucy Liu: Hard Feelings
Closing Saturday, June 6, 2026
120 East 65th Street, NYC

Don’t miss your opportunity to experience Hard Feelings, a solo exhibition of paintings by Lucy Liu before it closes on June 6 at Alisan Fine Arts.  Centered on works from her ongoing what was series, the exhibition explores the emotional and psychological terrain of memory, with particular attention to family, cultural inheritance, and the shifting nature of personal history.

Liu’s Hard Feelings series began in 2017 following the death of her father, an event that prompted her to revisit family photographs and reflect on the complexities of memory, loss, and childhood. Using these archival images as source material, she transforms personal histories into layered paintings that explore the shifting relationship between remembrance and imagination.

While early works remain more closely tied to representation, later paintings increasingly obscure their photographic origins through expressive brushwork, overlapping imagery, and accumulations of paint. Figures emerge, dissolve, and reappear, mirroring the instability of memory itself. More recent works return to family photographs with greater clarity, particularly images of her parents before and after immigration to the United States. These paintings retain recognizable figures while exploring themes of absence, inheritance, and generational experience.

Across the exhibition, Liu examines how memories are continuously reconstructed rather than faithfully preserved. The paintings balance visibility and erasure, intimacy and distance, revealing the emotional complexity of family history. Rather than offering resolution, Hard Feelings traces the enduring presence of the past and the ways in which feelings of attachment, grief, forgiveness, and compassion remain layered within personal memory.

To learn more, click here.

Installation view of Shimijimi: Dyed and Inlaid Textiles by Shigeki Fukumoto at Ippodo Gallery. Photo by Go Sugimoto

Shimijimi: Dyed and Inlaid Textiles by Shigeki Fukumoto
Closing Saturday, June 6, 2026
35 N Moore Street, NYC

Don’t miss the final week of Shimijimi: Dyed and Inlaid Textiles by Shigeki Fukumoto at Ippodo Gallery, closing Saturday, June 6. The acclaimed Japanese textile master’s debut solo exhibition presents more than twenty luminous textile works and folding screens spanning three decades of his distinguished career, showcasing the quiet beauty and refined artistry of dyed Japanese cloth.

Blurring the line between painting and the traditions of Japanese textile, Fukumoto’s unique wax resist (rozome) and cloth inlay (nunozoukan) techniques, using precious Turpan cotton, explore expressions of color, light, and layering within the long-established language of dyeing (senshoku).

Shigeki Fukumoto (b. 1946) provides a philosophy and process that cannot be defined by classical ideas of textile. His sensational dyes permeate beyond the surface of the fabric and sink into the fibers in contrast to the interwoven picture-making of Western textile arts. Fukumoto hails from Kyoto, where textile dyeing is more rich in history and there is a greater density of traditional cloth dyers than anywhere else in Japan. Fukumoto took up the mantle of his family’s kimono dyeing business from the mid 1960s until 1987 after studying oil painting at university. Mastering the strict techniques of wax-resist cloth dyeing—a cultural heritage dating back one-thousand years—Fukumoto began to share his constantly expanding expertise as a professor at Osaka University of Art.

To learn more, click here.

Yoshita Minori, Plate with Peony and Dry-Grass Patterns, 2012, porcelain with gold underglaze, 4 × 19 ⅜ × 19 ⅜ in (11 × 49.5 × 49.5 cm)

Tōhen「陶片」
May 31 – July 4, 2026
Galleria Barbara Paci, Piazza Duomo 25 55045,  Pietrasanta, Italy

Onishi Gallery is proud to announce an off-site exhibition Tōhen「陶片」, co-curated and hosted by Galleria Barbara Paci, opening in Pietrasanta, Italy on May 31.

In this exhibition, Japanese ceramic artists Yoshita Minori and Tokuda Yasokichi III—both designated Living National Treasures—present works grounded in ceramic forms and techniques passed down through centuries of tradition. Within the lineage of Japanese ceramic practice, artists undergo rigorous apprenticeship training in inherited skills and formal vocabularies before attaining artistic mastery. From this foundation, they create contemporary works that remain deeply rooted in history while resisting reduction to mere relics of the past.

The dialogue between contemporary Japanese ceramics and Agostino Rocco’s contemporary Italian paintings unfolds through the concept of lineage—understood not as nostalgia, but as a living material condition. Ceramic, pattern, gesture, and surface become vessels of memory, carrying traces of knowledge transmitted across generations. Rather than reproducing tradition, these works reinterpret lineage as a contemporary language shaped by fragmentation, personal history, and the instability of the present moment.

Tōhen invites you to trace these connections across distance and difference—between ceramic and pigment, between Japanese and Italian traditions, between the weight of inherited form and the freedom of contemporary expression. In this convergence, fragments do not simply coexist; they generate something new.

They look forward to welcoming you in Italy soon!

To learn more, click here,

Kimura Yoshirō (Japanese, born 1946). Droplet (Vessel with Blue Glaze), 2017. Half-porcelain with glaze, 21 1/4 × 23 inches (54.0 x 58.4 cm). The Nelson-Atkins Museum of Art, Kansas City, MO. Purchase: the Asian Art Acquisition Fund in memory of Laurence Sickman, 2025.28.

Water Embodied: Flow and Meaning of Water in Japanese Art
May 30 – August 23, 2026

Water—an essential element of life on Earth—has long played a vital role in shaping human civilization. In Japan, a country made up of islands, water is more than a natural resource. It is a constant presence that surrounds, connects, and sustains life, while shaping Japan’s culture, beliefs, and artistic creations.

Explore how water has been represented, revered, and reimagined in Japanese art across the past 500 years in Water Embodied: Flow and Meaning of Water in Japanese Art, a new exhibition at the The Nelson-Atkins Museum of Art. Through nearly 50 objects, it highlights water’s presence in daily life, its appearance in legends and deities, and its layered symbolic meanings. The exhibition also explores water’s dual nature—as both boundary and bridge—and how it facilitated the movement of people, goods, and ideas.

Please note that some objects in this exhibition will rotate due to their sensitivity to light.

To learn more, click here.

Kim Koo: Dreaming of Peace Through the Power of Culture
May 28 – August 31, 2026
Opening and Presentation: Thursday, May 28 at 6pm (By invitation only)

The Korea Society is honored to host a special exhibition honoring the life, enduring vision, and profound legacy of Kim Koo—one of the most revered leaders of the Korean independence movement. As a central figure in the Korean independence movement and the President of the Provisional Government of the Republic of Korea, Kim Koo presented a visionary outlook that emphasized national strength based on culture rather than military or economic power. To commemorate UNESCO’s designation of 2026 as the 150th anniversary of Kim Koo’s birth, The Korea Society offers a unique opportunity to reflect on his legacy through a visual exhibition.

This exhibition is produced in partnership between The Korea Society and The Association of Commemorative Service for Patriot Kim Koo and made possible by the support of the Kim Koo Foundation.

To learn more, click here.