Exhibition poster collaboratively designed by Grace Han, David Wonsik Jung, Heejae Kim, Jeewon Kim, Youngjin Park, and Allison Yoon. Courtesy Tina Kim Gallery

Half Memory, Twice Remembered: Korean Artists from the Yale School of Art
July 9 – 24, 2026
Opening reception: Thursday, July 9, 6-8pm
525 West 21st Street, NYC

Tina Kim Gallery is pleased to present Half Memory, Twice Remembered: Korean Artists from the Yale School of Art, a group exhibition bringing together fourteen current students and recent alumni from the Yale School of Art. Featuring artists working across painting, sculpture, installation, printmaking, and graphic design, the exhibition celebrates a self-organized community connected through shared cultural ties while reflecting the breadth of contemporary practice emerging from one of the leading MFA programs in the United States. Hosted at and co-organized with Tina Kim Gallery, the exhibition also recognizes the gallery’s longstanding commitment to supporting emerging artists from Korea and its diasporas.

The exhibition takes its title from a work by participating artist Su Ji Kim. Half Memory, Twice Remembered evokes the shifting, layered relationship between memory, language, and inheritance that quietly informs many of the practices on view. Moving between personal narrative and collective history, the works engage questions of identity, place, and belonging through both representation and material practice, tracing the ways cultural memory is carried, transformed, and reimagined across generations and geographies.

Participating artists include Claire Chey, Young Grace Cho, Yuna Cho, Grace Han, David Jung, Heejae Kim, Jeewon Kim, Namyoung Kim, Su Ji Kim, Haejin Park, Youngjin Park, Sok Song, Jam Yoo, and Allison Yoon.

They warmly welcome you to the opening reception on Thursday, July 9, from 6-8pm.

To learn more, click here.

Installation view of Robert Oxnam: Searching for Qi at Alisan Fine Arts, NYC

These are the final days of Searching for Qi, an exhibition of Robert Oxnam’s enthralling sculpture and photography at Alisan Fine Arts before it closes July 3. Throughout his work, Oxnam was preoccupied with the relationship between the parts and the whole, searching for each sculpture’s qi, or inner spirit. A quietly captivating body of work not to be missed! Then on July 9, the gallery opens 45th Anniversary: Home and Abroad, celebrating four and a half decades since Alisan Fine Arts was founded in Hong Kong in 1981, with a focus on Chinese diaspora artists from the gallery’s early years alongside a new generation of contemporary voices. Learn more below!

Robert Oxnam: Searching for Qi
Closing Friday, July 3, 2026
120 East 65th St, NYC

A scholar by training and a non-profit leader by profession, Robert Oxnam discovered his artistic practice almost by chance. Walking the beaches of the Long Island Sound, he noticed fragments of weathered wood—washed up on the shore by currents, half-buried under sand and wedged between rocks, carved from sea water, climate, and insects. Oxnam collected these gnarled, irregular shards, cleaning them to reveal a striking parallel. The wooden forms bore an uncanny resemblance to ancient Chinese scholars’ rocks—a millennium-long practice wherein scholar-officials collected unusual rocks for their studios. The custom symbolized an association of small fragments with the expansive, cosmic energy of nature.

The intent, Oxnam noted, was not to replicate the scholar stones tradition, but to seek inspiration in its conceptual metaphor. He continued to explore the close relationship of fragments to the whole, investigating this intimacy in a series of macro photographs. Capturing glacial rocks and boulders on Rocky Point Beach, he became enthralled by the finer details—a circular mark on a rock, a flash of color invisible to the naked eye, an impression filled with sea water after a wave. To Oxnam, these features were simultaneously specific and vast; as if taken from “Google Earth,” they remained minute while suggesting a natural expanse.

Searching for Qi presents these two related bodies of work: Oxnam’s driftwood sculptures, for which he was best known, and his foray into photography.

To learn more, click here.

Walasse Ting, Eight Grasshoppers in the Midst of Flowers, 1990s, 177.5 x 97 cm, Chinese ink & acrylic on rice paper

45th Anniversary: Home and Abroad
July 9 – August 28, 2026
Opening Reception: Thursday, July 9, 6-8pm

Founded in 1981 in Hong Kong, 2026 marks the 45th anniversary of Alisan Fine Arts. To commemorate the occasion, they have organized a series of exhibitions across their various gallery locations and at art fairs under the theme of “Then and Now”.

Here at Alisan Fine Arts New York, their focus will be on the Chinese Diaspora artists with whom they’ve worked since the gallery’s early years, alongside a new generation of contemporary artists.

Organized into three galleries, the exhibition centers on three themes: Reinventing Tradition, featuring the work of Lui Shou-Kwan, Wucius Wong, Yang Jiechang and Yang Yanping; New York, featuring the work of Walasse Ting, Ming Fay, Chinyee; and Home and Abroad, featuring artists Chu Chu, Summer Lee, Justin Lim, Yifan Jiang, Jia Sung, and Kelly Wang.

They look forward to celebrating with you soon!

To learn more, click here.

China Institute Gallery has two exceptional events coming up this July not to be missed. On July 9, join them for the opening ceremony of Chinese Opera: A Century of Dreams — Art, Design, and Technology, a special showcase running July 9–29 that reinterprets classic Chinese stories and theatrical scenes through a rich fusion of Eastern and Western artistic traditions, from ink painting and shadow puppetry to watercolor, oil painting, and beyond. Then on Saturday, July 11, celebrate the closing of their landmark exhibition The Dancing Goddess: Mei Lanfang in America with a festive party featuring the launch of the fully illustrated 400-page exhibition catalogue and a stunning “water sleeves” dance performance. Mark your calendars for these two unmissable events!

Chinese Opera: A Century of Dreams—Art Design, and Technology Special Showcase
July 9 – 29, 2026
Opening Ceremony: Thursday, July 9, 2026, 6-7pm

Inspired by the renowned Peking Opera master Mei Lanfang’s triumphant 1930 American tour and the rich artistic heritage of tradition Chinese Opera, this showcase presents reinterpretations of classic Chinese stories and theatrical scenes through contemporary visual language, drawing on a wide range of Chinese artistic traditions—including ink painting, shadow puppetry, New Year prints, woodblock printmaking, Dunhuang murals, and the vibrant heavy-color paintings of Yunnan’s ethnic minority communities—while incorporating Western artistic media such as copperplate engraving, watercolor, gouache, acrylic, and oil painting. Several projects further explore new creative possibilities through the integration of artificial intelligence and digital technologies. All works were created by students in the Illustration Program at the School of Design, East China Normal University.

Building upon the China Institute’s exhibition The Dancing Goddess: Mei Lanfang in America and echoing Mei Lanfang’s landmark 1930 American tour organized by China Institute of America, this showcase highlights the intersection of art and technology and the dialogue between Eastern and Western artistic traditions. Through the reinterpretation and contemporary reimagining of works inspired by Chinese Opera, it seeks to foster cross-cultural understanding and creative exchange, continuing Mei Lanfang’s legacy of cultural dialogue for new generations.

Join the opening ceremony and enjoy a guided tour led by curator Lan Chen. Free Admission with light refreshments.

To learn more and reserve your free tickets, click here.

Closing Party for The Dancing Goddess: Mei Lanfang in America
Saturday, July 11, 2026, 3-5pm
Exhibition closing Sunday, July 12, 2026

China Institute of America President Jin Yu, CEO George Geh, and Gallery Director Charles A. Riley cordially invite you to the Closing Party of The Dancing Goddess: Mei Lanfang in America on Saturday, July 11, from 3-5pm. Join them as they celebrate the much-anticipated launch of the fully illustrated 400-page exhibition catalogue, alongside a “water sleeves” dance performance. With this festive closing party, they bring the curtain down on this landmark exhibition.

To learn more and reserve your spot, click here.

Tripitaka Bodhisattvas 삼장보살도, Joseon dynasty, 18th century, Minhui 민희 (active early to mid-18th century) and other monk-painters. National Museum of Korea, LKH3965. © National Museum of Korea

Korean National Treasures: 2,000 Years of Art
Closing Sunday, July 5, 2026
111 South Michigan Avenue

Don’t miss 2,000 years of Korean art at the Art Institute of Chicago before Korean National Treasures closes July 5, the museum’s largest exhibition devoted to Korean art in four decades! This expansive exhibition showcases 140 works—including modern and historical painting, ceramics, and objects made for Buddhist worship and scholarly study—22 of which are officially recognized as National Treasures or Treasures by the Korean government.

The objects in the exhibition are recognized as remarkable examples of their type and distinguished for their exceptional historic, artistic, and academic value. From a 6th-century gilt bronze Buddhist sculpture to Joseon dynasty paintings to contemporary paintings of the late 20th century, the works of art in this exhibition demonstrate the artistic legacy produced on the Korean peninsula over millennia.

Once privately held, these artworks now belong to the Korean people thanks to a single groundbreaking gift from the family of Lee Kun-Hee, late chairman of Samsung Group. In 2021 the family donated over 23,000 works to the Korean government for public audiences to study and appreciate in perpetuity. Lee Kun-Hee and his father, Lee Byung-Chull, collected exceptional and storied objects from throughout Korean history as a means of preserving and celebrating the nation’s cultural heritage.

“The Lee Kun-Hee Collection is not biased toward a specific period or genre, but evenly encompasses the essence of Korean art history from the Three Kingdoms period to the modern era,” said Yeonsoo Chee, Korea Foundation associate curator of Korean art at the Art Institute of Chicago. “By encountering the depth and diversity of Korean art across millennia, visitors will experience the accumulated cultural richness and artistic creativity that have evolved into the dynamism of Korean art and culture today,” she said.

The exhibition charts the ideas, values, and traditions that have shaped the country’s creative production, from the Three Kingdoms period (57 BCE–676 CE) through the 1900s, offering insights into these objects’ rich meanings across centuries.

Korean National Treasures: 2,000 Years of Art is curated by Yeonsoo Chee, Korea Foundation Associate Curator of Korean art at the Art Institute of Chicago.

This exhibition, drawn from the National Bequest of Lee Kun-Hee’s Collection, is organized by the Art Institute of Chicago, the Smithsonian’s National Museum of Asian Art, the National Museum of Korea, and the National Museum of Modern and Contemporary Art, Korea.

To learn more and plan your visit, click here.

Installation view of Toshiko Takaezu: Dialogues in Clay at Princeton University Art Museum. Photo: Joseph Hu

Toshiko Takaezu: Dialogues in Clay
Closing Sunday, July 5, 2026
Princeton University Campus

There is still time to experience Toshiko Takaezu: Dialogues in Clay at the Princeton University Art Museum — a celebration of the groundbreaking ceramic artist (1922–2011) who taught at the University for nearly three decades.

Drawing from the Museum’s deep holdings of Takaezu’s ceramics, Dialogues in Clay explores the artist’s experimental practice, including her signature “closed” forms and painterly glazing. Placing Takaezu’s sculptures in conversation with the work of her teachers and contemporaries who embarked on parallel pathways of innovation—including Helen Frankenthaler, Maija Grotell, Robert Motherwell, Isamu Noguchi, Lenore Tawney, and Peter Voulkos,— alongside reflections by her students, the exhibition positions Takaezu as one of the most important ceramic artists of the twentieth century.

Toshiko Takaezu was an instructor at Princeton University for many years. She had a deep respect for the wonders of the natural world and often found inspiration in nature. Learn more about her legacy in this article here.

To learn more about the exhibition, click here.

Hiroshige (1797-1858), Naruta Whirlpool, Awa Province, 1855, woodblock print, 14.5 x 10 in. (36.83 x 25.4 cm)

Celebrating 250 Years
Summer Selection
Summer 2026

This summer, The Art of Japan is pleased to unveil a remarkable selection of new acquisitions, now available to view on their site. Each carefully selected work reflects their ongoing commitment to bringing exceptional Japanese art to collectors and enthusiasts alike.

Reflecting the depth and beauty of Japan’s printmaking tradition, the selection includes works of extraordinary range and beauty — among them Hiroshige’s (1797–1858) Naruta Whirlpool, Awa Province (1855), a masterwork that exemplifies the artist’s celebrated ability to capture the power and poetry of the natural world.

To explore these new summer acquisitions, click here.

Nakatomi Hajime, FLY: Shirabyoushi, 2023, madake bamboo, rattan, 29 x 31 x 16.5 in. Image: Minamoto Tadayuki.

Nakatomi Hajime
June 26 – July 25, 2026
Opening Reception: Friday, Jun 26, 5-7pm
Artist Talk: Saturday, Jun 27, 2pm
1601 Paseo de Peralta, Sante Fe, NM

TAI Modern is pleased to present Nakatomi Hajime, the artist’s first solo exhibition in the US opening June 26. This exhibition brings together work from five series developed over more than two decades — Prism, Musubi, Auspicious 8, Frill, and FLY — work defined by a single animating question: what does it mean for something not to look like bamboo? Rather than emphasizing material qualities or classical techniques and forms, Nakatomi embraces this paradoxical inquiry. His aim is to express the beauty of bamboo through colors, shapes, sizes, and materials not typically found in bamboo art. The most recent works in the exhibition combine bamboo with other materials, such as gold.

“Many people who see my work murmur, ‘Is this really bamboo?’” Nakatomi has written. “That is because I create my pieces so that they do not look like bamboo. Yet, such small reactions cast a faint light on the path I am taking — they give me the conviction that a new form of bamboo art is being born here.”

Nakatomi came to bamboo art by way of an unlikely path. Raised in Osaka and educated at Waseda University in Tokyo, where he studied business and commerce, he had no prior relationship with art until an interest in ceramics led him to the university art club. A large photograph of Flame, a 1957 bamboo sculpture by master Shono Shounsai, encountered by chance at a Tokyo department store, set him on an entirely new course.

In the spring of 2000, Nakatomi entered the bamboo craft training center in Beppu, Kyushu, one of Japan’s foremost centers of bamboo production. After completing his training, he was introduced to Honda Syoryu, a celebrated bamboo sculptor. Nakatomi served as Honda’s assistant for three years, an experience he has described as transformative not for its technical instruction, but for the spiritual insight it offered into the nature of artistic creation.

TAI Modern has represented Nakatomi since 2002, and this exhibition marks the first time the gallery has devoted a full solo presentation to his work. They warmly invite you to join the opening reception Friday evening, June 26 from 5-7pm followed by an artist talk on Saturday, June 27 at 2pm.

To learn more, click here.

Pillow in the shape of an infant boy (清 翡翠孩儿枕). Chinese, Qing dynasty (1644–1911), 18th–19th century. Jade (jadeite). The Metropolitan Museum of Art, New York, Gift of Heber R. Bishop, 1902

This summer showcases remarkable Asian works of art at The Metropolitan Museum of Art. There is still time to catch two exceptional exhibitions before they close June 28 — A Passion for Jade: The Bishop Collection and Embracing Color: Enamel in Chinese Decorative Arts, 1300–1900. And just one day earlier, on June 27, the Met opens City of Memory: Nanjing in the Seventeenth Century, offering a rare window into one of China’s most historically rich and culturally vibrant cities. Plan your visit soon!

A Passion for Jade: The Bishop Collection
Closing Sunday, June 28, 2026

More than 100 remarkable objects from the Heber R. Bishop collection, especially carvings of jade, the most esteemed stone in China, and many other hardstones, are on view in this focused presentation. These refined works represent the sophisticated art of Chinese gemstone carvers during the Qing dynasty (1644–1911) as well as the highly accomplished skills of Mogul Indian (1526–1857) craftsmen, who provided an exotic inspiration to their counterparts. Also on view are a set of stone-working tools and illustrations of jade workshops, which introduce the traditional method of working jade.

The exhibition is made possible by the Florence and Herbert Irving Fund for Asian Art Exhibitions.

To learn more, click here.

Bottle with lotuses, China, late 15th century. Porcelain with raised slip and enamels (Jingdezhen fahua ware), H. 14 1/2 in. (36.8 cm); Diam. 7 1/8 in. (18.1 cm). Bequest of John D. Rockefeller Jr., 1960.

Embracing Color: Enamel in Chinese Decorative Arts, 1300-1900
Closing Sunday, June 28, 2026

Enamel decoration is a significant element of Chinese decorative arts that has long been overlooked. This exhibition reveals the aesthetic, technical, and cultural achievement of Chinese enamel wares by demonstrating the transformative role of enamel during the Ming (1368–1644) and Qing (1644–1911) dynasties. The first transformational moment occurred in the late 14th to 15th century, when the introduction of cloisonné enamel from the West, along with the development of porcelain with overglaze enamels, led to a shift away from a monochromatic palette to colorful works. The second transformation occurred in the late 17th to 18th century, when European enameling materials and techniques were brought to the Qing court and more subtle and varied color tones were developed on enamels applied over porcelain, metal, glass, and other mediums. In both moments, Chinese artists did not simply adopt or copy foreign techniques; they actively created new colors and styles that reflected their own taste. The more than 100 objects on view are drawn mainly from The Met collection.

This exhibition is made possible by the Florence and Herbert Irving Fund for Asian Art Exhibitions.

To learn more, click here.  

Tao Hong (Chinese, active ca. 1610–1640s), Riverside village, 1638. One leaf from an album of seven leaves. Image: 9 3/4 × 10 1/2 in. Promised gift of Julia and John Curtis.

City of Memory: Nanjing in the Seventeenth Century
Opening Saturday, June 27, 2026 – January 3, 2027

Throughout Chinese history, the city of Nanjing served as the capital of multiple dynasties. Each time a dynasty was overthrown, it left behind another layer of cultural memory, creating an atmosphere in which artists found themselves surrounded by the past. Material traces of history—temples, city walls, ancient trees—blended with less tangible remains, such as views that had inspired famous artists and poetic verses they had written. In 1644, the Ming dynasty was violently overthrown, and the Qing took its place. A new layer of reminiscence was added, sparking feelings of loss and nostalgia, as the people of Nanjing saw their world shattered and another dynasty—their own—consigned to the realm of history.

City of Memory: Nanjing in the Seventeenth Century explores how artists lived and worked in this charged environment in the decades before and after the fall of the Ming dynasty. Through a selection of about 100 objects, mostly from The Met collection, the exhibition illuminates both the city’s lore and complex history as well as the evolution of Nanjing painting from the 1640s to the 1680s, introducing key figures, genres, and styles. Artworks donated to The Met by Julia and John Curtis have inspired and enriched this exhibition.

The exhibition is made possible by the Joseph Hotung Fund.

To learn more, click here.        

Installation view of Asa Hiramatsu: To Be Cloud at Seizan Gallery, NYC. Photo by Thomas Barratt

Asa Hiramatsu: To Be Cloud
Closing Thursday, July 2, 2026
525 West 26th Street, NYC

There is still time to experience Asa Hiramatsu: To Be Cloud, the debut solo exhibition of Tokyo-based painter Asa Hiramatsu at Seizan Gallery, before it closes July 2. To Be Cloud gathers eighteen new paintings that distill Hiramatsu’s investigation into the inner landscape she carries within herself — and that, she believes, each of us carries as well.

A self-taught painter and illustrator, Hiramatsu makes tranquil, contemplative scenes built up in muted color and the heavy, layered surface of oil paint. She calls them inner landscapes: a world she holds within herself, running parallel to the one we share. For Hiramatsu, painting is a way of descending into her own inner topography and registering what she finds there — meeting familiar faces, finding new patches of ground, driving a stake to mark that she has been. It is, in her words, an act of “understanding why I am myself.” That journey, by its nature, opens into the viewer’s own — into the self, and into its relationships with others, with society, with the natural world.

To learn more, click here.