ASIA WEEK

Installation view of A Well of Rouge, a Flower of Fortune: Teaching and Learning in Chinese Flower Painting at Fu Qiumeng Fine Art, NYC

A Well of Rouge, a Flower of Fortune: Teaching and Learning in Chinese Flower Painting
Closing Saturday, October 31, 2026
65 East 80th St, Ground Fl, NYC

There’s still time to discover the rich traditions of Chinese flower painting at A Well of Rouge, a Flower of Fortune: Teaching and Learning in Chinese Flower Painting, on view at Fu Qiumeng Fine Art for one final week before the exhibition closes October 31.

At the heart of the exhibition is a remarkable group of instructional paintings by Li Fenggong (1907–1994), a twentieth-century Chinese painter and teacher devoted to preserving and transmitting the traditions of ink flower painting. More than 100 of his instructional works survive, offering a rare record of how classical painting techniques were taught and passed on in the modern era. Selections from this group are presented on a rotating basis throughout the exhibition.

Alongside Li’s instructional works, the exhibition brings together flower paintings spanning the Ming and Qing dynasties through the modern period, tracing how traditions of Chinese flower painting have been taught, learned, reinterpreted, and transmitted across generations.

Don’t miss this opportunity to explore the artistry, knowledge, and cultural heritage carried through generations of Chinese flower painting. Be sure to visit before the exhibition closes!

To learn more, click here.

Wakao Toshisada 若尾 利貞 (b. 1933) Nezumi Shino small plates, set of 6, stoneware, 5/8 × 4 3/4 in. (1.5 × 12 cm), with signed wood box, signed artist’s mark at base

The Art of Living
Fine Japanese Ceramics & Art for Dining, Kaiseki, and Chanoyu
October 29 – December 17, 2026
18 East 64th St, Ste 1F, NYC

Dai Ichi Arts, Ltd. is pleased to present The Art of Living, an autumn exhibition of modern and contemporary Japanese ceramics and art for dining, Kaiseki, and Chanoyu by celebrated makers.

The celebrated ceramic artist Kitaōji Rosanjin famously described tableware as “cuisine’s kimono.” Like a kimono, utsuwa (器)—a term meaning vessels, commonly used to refer to tableware—frames and complements what it holds, enhancing the food without competing with it. A vessel’s color, shape, texture, and decoration can make a dish appear more vibrant, delicate, or inviting. And because many Japanese dishes are served in portions small enough to hold, the experience is especially intimate: diners engage with the vessel as well as the food, bringing both close to the body.

This close attention to tableware is especially evident in Sadō: particularly Kaiseki and Chanoyu. In each, vessels are chosen with care for the food, the occasion, the guest, and the season. A meal unfolds through a succession of bowls, plates, trays, sake cups, and containers for sweets or water, each contributing to the rhythm of hospitality. A carefully chosen vessel can express what words cannot: that the host has considered the moment, the season, and the person gathered at the table.

The Japanese table brings together binary qualities: function and beauty, nature and craftsmanship, individuality and harmony, tradition and everyday life. A ceramic vessel carries food, but it can also evoke the season, reveal the maker’s character, bear traces of its own history, and express the intentions of the person who selected it.

Celebrating the art of functional ceramics by celebrated contemporary Japanese artists, our forthcoming exhibition The Art of Living is presented in three parts. The first explores everyday dining through tea cups, platters, bowls, and modern style Japanese tableware. The second turns to kaiseki and the art of the seasonal table. The third enters the tea room, where tea bowls, water jars, and flower vases shape the setting for chanoyu. Together, these three parts reveal how Japanese ceramics bring beauty, meaning, and seasonal tastes to the art of living.

They look forward to welcoming you soon!

To learn more, click here.

Origin of Life, 2011, by Mayank Shyam (Indian, born 1987). © Mayank Shyam

Legendary Futures
Through March 31, 2027

Explore a world where mythology, extraordinary creatures, and imagined futures collide in Legendary Futures, now on view at the Philadelphia Museum of Art through March 31, 2027. Featuring works by Bhajju Shyam, Ram Singh Uruveti, Jangarh Singh Shyam, Mayank Shyam, and Ai Weiwei, the exhibition reimagines stories rooted in Indian and Chinese traditions through contemporary artistic visions, inviting visitors to discover the boundless possibilities of legend and imagination.

Paintings by Bhajju Shyam and Ram Singh Uruveti narrate specific long-shared stories of the Gond communities of India recast through a contemporary lens. Other pieces by Jangarh Singh Shyam, Mayank Shyam, and Ai Weiwei portray marvelous animal life by layering the mythology of India and China onto present-day artistic practices. All this work proves the timelessness of activating the imagination—of the artists and we, the viewers—to envision multiple fantastic futures full of curious, dynamic, and exciting legends.

Be sure to plan your visit today!

To learn more, click here.

Suzuki Osamu (Japanese, 1926–2001). Clay Figurine (detail), 1962. Glazed stoneware. Collection of Carol and Jeffrey Horvitz. EL2025.25.16

Step into the unexpected world of Japanese art with two exciting exhibitions opening October 24 at the Minneapolis Institute of Art. Breaking Tradition: The Avant-Garde in Japanese Ceramics, 1948 to 1990 explores the bold artists who challenged centuries-old conventions to redefine ceramic sculpture, while Bare Bones: Skeletons in Japanese Art uncovers the whimsical side of skeletons through paintings, prints, and illustrated works. Together, these exhibitions reveal the adventurous spirit, inventive artistry, and delightful surprises of Japanese art!

Breaking Tradition: The Avant-Garde in Japanese Ceramics, 1948 to 1990
October 24, 2026 – February 7, 2027
Mary Griggs Burke Gallery of Japanese Art (251–253)

For many Japanese artists, the process of conceptualizing and producing an artwork underwent fundamental, widespread change after the end of World War II in 1945. The strong emphasis on continuity was abandoned by some in favor of a radical new path, previously unheard of, especially in the crafts section.

The birth of an avant-garde and formal declaration for innovations is notable throughout different media. One approach for avant-garde artists was to create sculptures instead of functional objects. In 1948, a group of five ceramic artists, among them Yagi Kazuo (1918–1979), Yamada Hikaru (1923–2001), and Suzuki Osamu (1926–2001), founded Sōdeisha, literally the Crawling through Mud Association. The Sōdeisha group was active until 1998. While more than 60 artists were members at some point, not every ceramic artist who created innovative sculptures joined. Artists like Kawamoto Gorō (1919–1986) and Morino Taimei (born 1934) preferred to work independently and pursued their own paths.

Individualism is a key factor in Japanese contemporary ceramics today. This exhibition sheds light on the beginning of the break with Japanese ceramics traditions by showcasing works from independent artists and Sōdeisha members created before 1990.

To learn more, click here.

Takeuchi Ryūa (Kokunimasa), Skeletons as a Courtesan Procession (detail), c. 1900–1920. The Mary Griggs Burke Endowment Fund, 2024.66.2

Bare Bones: Skeletons in Japanese Art
October 24, 2026 – January 3, 2027
Cargill Gallery (103)

Skulls and skeletons are a popular subject in Japanese art. They appear in paintings, prints, and book illustrations as secondary elements but also as primary subjects, especially with the increased understanding of anatomy in the 19th century.

This exhibition shows skeletons in a life-like, humorous manner, exhibiting a playfulness to the usually terrifying and haunting nature of skeletons. The highlight is the recently acquired pair of six-panel folding screens by Takeuchi Ryūa, a truly memorable and unique work of skeletons at play.

To learn more, click here.

Alfonso Ossorio, Christ in Limbo, 1950, watercolor, black ink, and wax on white wove paper. Harvard Art Museums/Fogg Museum, Gift of Frederic and Siena Ossorio, 2004.21. © Robert U. Ossorio Foundation.

Alfonso Ossorio: Line and Lineage
October 23, 2026 – April 11, 2027
Related Tours and Talks: Oct 28, Nov 4, 5, 18, Dec 9, Mar 3, Apr 6 & 9 
Modern and Contemporary Art, Harvard Art Museums

Discover the expressive power of line in Alfonso Ossorio: Line and Lineage, opening October 23, 2026, at Harvard Art Museums. Through a focused selection of works and archival materials, the exhibition explores the recurrent subjects, material experimentation, and development of line in prints, drawings, and wax-resist paintings by Alfonso Ossorio (1916–1990). Born in the Philippines, Ossorio studied art history at Harvard and shortly after moved to New York City, becoming an influential figure in the post–World War II American avant-garde. Showcasing works that chart both continuities and innovations across his six-decade practice, the exhibition positions Ossorio in dialogue with the artists he influenced, learned from, and inspired.

The exhibition is organized in conjunction with Knowledge Is Myth: Chimeric Continuities (October 1–December 13, 2026) at the neighboring Carpenter Center for the Visual Arts. Works by Ossorio as well as by Enzo Camacho and Ami Lien, a contemporary artist duo who engage with the continuing influence of a larger-than-life church mural that Ossorio completed in the Philippines, appear in both exhibitions.

Enrich your visit with a range of engaging programs, including curator-led talks, hosted by Harvard Art Museums and the Carpenter Center throughout the exhibition’s run.

Alfonso Ossorio: Line and Lineage is accompanied by a publication featuring two essays with new scholarship on Ossorio’s works on paper and a conversation with contemporary artists Enzo Camacho and Ami Lien.

To learn more, click here.

Photography by © Lucinda Douglas-Menzies, 2026. Courtesy Oliver Forge and Brendan Lynch Ltd.

KASMIN: Eye of a Connoisseur
Highlights: October 12 – November 6, 2026 (By appnt only)
Exhibition: November 9–13, 2026 (Mon-Fri, 10am-6pm)
16 Pall Mall, London

Oliver Forge and Brendan Lynch Ltd. is delighted to announce the release of its new catalogue accompanying Kasmin: Eye of a Connoisseur, an exhibition celebrating the antiquities collection of the legendary and influential art dealer John Kasmin.

Spanning ancient objects from Britain to China, alongside a collection of Islamic ceramics, the exhibition offers a fascinating glimpse into Kasmin’s distinctive aesthetic sensibility, boundless curiosity, and delight in the objects he lives with and collects. As Cathy Courtney observes in the catalogue’s introduction, Kasmin is guided not by the desire to assemble a complete collection, but by the “visual and tactile excitement” of objects that bring him joy in everyday life.

Explore the online catalogue here for an in-depth look at these remarkable works. Highlights are available to view by appointment from now through November 6, ahead of the exhibition, on view November 9–13, Monday through Friday, 10am–6pm.

Installation view of Maia Ruth Lee: Double Vision at Tina Kim Gallery. Courtesy the artist and Tina Kim Gallery. Photo: Hyunjung Rhee.

Maia Ruth Lee: Double Vision
Closing Saturday, October 24, 2026
525 West 21st Street, NYC

This is the final week of Double Vision, Maia Ruth Lee’s second solo exhibition with Tina Kim Gallery. Journey through Lee’s compelling exploration of migration, identity, and belonging in a new body of paintings from her Bondage Baggage series, alongside sculptural and video works examining how our identities are shaped by intersecting histories, temporalities, and systems of knowledge.

Lee’s exhibition takes its title from Homi K. Bhabha’s The Location of Culture. The migrant’s double vision simultaneously inhabits both the place left behind and the place occupied as the condition for a complete understanding of the migrant’s life. Double vision becomes both a metaphor and a new way of working memory as material. Across both gallery spaces, Lee’s work expands and contracts image and sculpture, memory and record. Forms stack, unfold, mirror, and reassemble, building identity as a continuous accumulation, complicating the narrative of migration as one fixed point of origin.

Anchoring the exhibition is a series of new paintings from Lee’s Bondage Baggage methodology. The suitcase is a generative metaphor where luggage becomes more than functional objects of transport. They are vessels where memory, absence, expectation, and aspiration collide. New sculptures preserve the impressions of bound bundles after their contents have been released, while video and photographic works draw on Lee’s family archive, including footage recorded by her parents in Nepal and Korea. Her sculptural assemblages also revisit architectural fragments salvaged from New York City, reflecting the artist’s longstanding engagement with the city as both home and material.

Together, these works present history and memory as layered and ever-evolving, where the past and present fold into one another and identity is continually transported, translated, and reshaped.

Experience this thought-provoking exhibition before it closes!

To learn more, click here.

Seated statue of Nyoirin Kannon, late Kamakura period to Nanboku-chō period, h: 40cm

Tobi Art Fair 2026
October 16 – 18, 2026
Tokyo Art Club | 6-19-15 Shinbashi, Minato-ku, Tokyo

Hiroshi Yanagi Oriental Art is excited to participate in Tobi Art Fair this fall! The gallery will present a thoughtfully curated selection of Japanese works of art, celebrating the beauty, craftsmanship, and rich cultural heritage of these exceptional objects. Visit them at the Tokyo Art Club to discover works chosen for their quality, artistry, and cultural significance.

Held October 16–18 at the Tokyo Art Club in Tokyo, Tobi Art Fair brings together leading Japanese art dealers to present an exceptional range of fine and decorative arts. This year’s fair features 118 exhibitors and more than 2,000 works, spanning Japanese and other Asian antiques, tea ceremony objects, Buddhist art, crafts, swords, and modern and contemporary art.

Planning to attend? The gallery is delighted to arrange tickets for you to collect at reception. Please get in touch, and they will be happy to assist.

They look forward to welcoming you and sharing their passion for Japanese art at this special occasion!

To learn more and view the works, click here.

Art Basel Paris
October 23–25, 2026
Booth O.A2
The Grand Palais, Paris

For the 2026 edition of Art Basel Paris, New York’s Tina Kim Gallery and Tokyo’s Take Ninagawa will organize a dual presentation reflecting the strength and synergy of our international programs, which trace the critical artistic influence of the modern and contemporary Asian diaspora. Tina Kim Gallery will highlight new and recent works by Mire Lee, Maia Ruth Lee, Suki Seokyeong Kang, and Ghada Amer alongside rare and historic works by Pacita Abad, Kim Lim, Lee ShinJa, Ha Chong-Hyun, Park Seo-Bo, and Kim Tschang-Yeul. Take Ninagawa will present a focused selection of historical works by gallery artists Koji Kamoji, Kazuko Miyamoto, Shinro Ohtake, Tsuruko Yamazaki, and Gozo Yoshimasu. Bringing these two programs into conversation, the booth will underscore transnational artistic lineages, dialogues, and shared formal concerns across different generations and geographies.

They look forward to welcoming you in Paris soon!

To learn more, click here.

All the Eternal Love I Have for the Pumpkins, 2016. Yayoi Kusama. Wood, mirror, plastic, acrylic, and LED. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2018.12.A–I. ©YAYOI KUSAMA. Courtesy Ota Fine Arts, Victoria Miro, and David Zwirner.

Yayoi Kusama: All the Eternal Love I Have for the Pumpkins
Closing Sunday, October 18, 2026
953 Eden Park Drive

Don’t miss your chance to step into Yayoi Kusama’s mesmerizing world before it closes October 18 at the Cincinnati Art Museum! All the Eternal Love I Have for the Pumpkins (2016) transforms an array of glowing yellow pumpkins adorned with black polka dots into an immersive, mirror-lined installation that creates the illusion of an infinite field. As visitors enter the space, they become part of Kusama’s captivating vision, enveloped in an infinite sea of luminous pumpkins.

All the Eternal Love I Have for the Pumpkins illustrates Kusama’s characteristic themes, including infinity and obsessive repetition. The artist has described the pumpkin—one of her quintessential symbols—as a form of self-portraiture. A rare assemblage of a dozen Pumpkin acrylic paintings on canvas made between 1990-2004 will also greet gallery visitors, courtesy of the Masterworks Foundation.

Kusama’s career spans more than seven decades, and her Infinity Mirror Rooms are some of her most experimental and iconic works, often incorporating a variety of illuminated objects. Infinity Mirror Room—Phalli’s Field (1965) was Kusama’s first installation to use mirrors to create a sense of endless space, featuring a floor covered in hundreds of red-spotted, white fabric-stuffed tubes. Kusama’s mirrored installations represented an innovative step in the emergence of an increasingly experiential practice. In each work, the visitor’s reflection seems to extend into infinity while they simultaneously have an intimate and individualized room experience.

All the Eternal Love I Have for the Pumpkins draws on Kusama’s seminal pumpkin room, Mirror Room (Pumpkin) (1991), which was shown at for the Japanese Pavilion at the 1993 Biennale Arte in Venice.

Please note that daytime tickets are now sold out through Sunday, October 18, however, tickets for free admission hours on Thursday evening will be available at 11am the day-of and are expected to sell out within minutes.

To learn more, click here.