ASIA WEEK

China Institute Centennial Lunar New Year Family Festival Celebrating the Year of the Horse
Saturday, February 21, 2026
2–5pm

Celebrate the Year of the Horse with China Institute! As they mark our centennial year of bridging cultures and fostering connections, they invite you and your family to gallop into the Year of the Horse with unparalleled cultural experiences from China, right in the heart of New York City.

Co-organized with the Shanghai Museum, a world-class museum dedicated to ancient Chinese art, this year’s festival features rich traditions, interactive workshops, and mesmerizing performances for all ages. Join them for a journey that promises to inspire, educate, and delight the entire family!

To view the full schedule of events and purchase tickets, click here.

Chizuko Yoshida (1924-2017), Festival (Matsuri), titled, numbered, signed and dated in pencil on the bottom margin, Matsuri, 16/50, Chizuko Yoshida, 1960, oban tate-e 16 by 11 1/4 in. (40.5 by 28.7 cm)

Chizuko Yoshida: A Vibrant Legacy
145 West 58th St, Ste 6D, NYC

After visiting the Portland Art Museum in Oregon this past October to attend an insightful symposium related to YOSHIDA CHIZUKO, the first major retrospective exhibition devoted to the work of the pioneering artist Chizuko Yoshida (1924-2017), Scholten Japanese Art was inspired to expand their offerings of her work at the gallery.  It took some time to make the arrangements, but they’re delighted to share that a new shipment of works from the Yoshida Family Collection has arrived and is now available on their website.

Included in the new group are impressions of several prints that were seen on view in the Portland exhibition—with examples from various phases of the artist’s life and work.  Several are quite large and lavishly embellished with glowing mica.  Particularly significant is an impression of Baroque Yellow Wall in Szentendre from 1997 poignantly dedicated to her husband Hodaka Yoshida who had passed away unexpectedly in 1995, which references his affinity for images of highly-textured walls; and one impression of Rondo from 2005, Chizuko’s very last print.

To learn more and view these exceptional prints, click here.

Installation view, Under Heaven and Beyond Form: Celestial Tales of Tai Xiangzhou

Under Heaven and Beyond Form: Celestial Tales of Tai Xiangzhou
Closing Saturday, February 21, 2026
65 East 80th Street, NYC

These are the final weeks to catch Under Heaven and Beyond Form: Celestial Tales of Tai Xiangzhou, the second solo exhibition of the artist at Fu Qiumeng Fine Art.  Bringing together three pivotal series spanning his career—Celestial Tales, The Milky Way, and Kunlun—the presentation creates a dynamic dialogue across time and theme. Taking ink as its conceptual and material foundation, the exhibition systematically traces Tai’s artistic inquiry into cosmological thought, material elements, and pictorial traditions, articulating his sustained engagement with the transformation of ink painting in a contemporary context.

Rooted in ancient Chinese cosmology and the shan shui landscape tradition, Tai Xiangzhou’s work engages both historical and contemporary ways of understanding the universe. Rather than depicting nature realistically, he explores the underlying structures, spatial logic, and metaphysical principles of the landscape tradition, using them as a lens on cosmic order. Across three interrelated series, the exhibition unfolds as a layered, immersive experience.

Tai’s practice treats tradition not as a constraint but as a generative framework, repositioning ink painting as a site of material experimentation and cosmological inquiry. Under Heaven and Beyond Form: Celestial Tales of Tai Xiangzhou transforms ink into a living system of thought—bridging ancient philosophy and contemporary perspectives in a way that is both profound and visually arresting. Don’t miss this immersive journey into the world of ink and the cosmos before the exhibition closes!

To learn more, click here.

Suda Seika IV 四代 須田菁華, Mounted sake cup with peony motif, porcelain, H1 3/4 × Dia 1 7/8 in. (H4.4 × Dia 4.9 cm), with signed wood box

As Valentine’s Day approaches, Dai Ich Arts, Ltd. invites you to consider a gift that is both intimate and enduring. They are pleased to present a new collection of 12 one-of-a-kind sake cups by Japanese makers, each thoughtfully crafted and rich in quiet expression.

Rooted in tradition yet meant for daily use, these vessels are designed to be held, savored, and lived with—objects that often become part of one’s most personal rituals and shared moments.

Available now on their online shop today!

To learn more, click here.

Eri Iwasaki, Dust Bunny – In a Small Corner of the World, 2025, natural mineral pigment, platinum paint, gofun, akatsuchi on washi paper (kozo) mounted on wood panel, 51.3 x 63.8 in (130.3 x 162 cm)

Mother
MARINA BERIO, YUKIKO HATA, ERI IWASAKI, MINÉ OKUBO, ASAKO TABATA
February 12 – March 14, 2026
Opening Reception: Thursday, February 12, 6-8pm
525 West 26th Street, NYC

Seizan Gallery is pleased to present MOTHER, a group exhibition featuring works by Marina Berio, Yukiko Hata, Eri Iwasaki, Miné Okubo, and Asako Tabata. On view from February 12 through March 14, the exhibition brings together major work by artists who have been pursuing the enduring subject of motherhood—both directly and indirectly—through their distinct perspectives and medium of choice. Together, their works offer nuanced and refreshing interpretations of this historically resonant theme.

To learn more, click here.

Installation view, Kaz Watabe: Stray

Kaz Watabe: Stray
and
Ami Yamashiro: Pragmatism
Closing Saturday, February 7, 2026

Also be sure to catch their two concurrent solo exhibitions, Kaz Watabe: STRAY and Ami Yamashiro: PRAGMATISM before they close February 7. Together, the exhibitions highlight two compelling artistic voices, each navigating ambiguity and emotional tension through deeply personal visual languages.

To learn more, click here.

Apollo Magazine, February 2026 issue

In partnership with Apollo magazine, we are delighted to offer you the chance to read the digital edition of the February issue of Apollo free of charge. As well as the usual features, reviews and art market commentary, you can read articles about the remarkable 70-year history of the Asia Society in New York; a splendid Joseon-dynasty ‘longevity’ painting on show at the Art Institute of Chicago; László Hudec, the architect who brought Hungarian modernism to Shanghai; why now is a good time to buy Chinese jade; a preview of Asia Week New York that includes must-see highlights chosen by Apollo; and a review of the Kochi-Muziris Biennale in Kerala.

Just click here and enjoy!

If you like what you read, you can also take advantage of an exclusive offer and save 40% when you subscribe. Apollo covers everything from antiquities to contemporary art, providing in-depth discussion of the latest debates in the art world, exclusive interviews with the world’s most important artists and collectors, expert analysis of the market, authoritative guidance on collecting, and reviews and previews of the most important and interesting exhibitions around the world. Every issue also contains Apollo’s regular columns, from architecture to food and wine. As well as the monthly magazine, subscribers get unrestricted access to the Apollo website, which is updated every day, plus our digital archive of over 200 issues. Subscribe today and save 40%!

To learn more and subscribe, click here.

Map of the History of Science and Technology (detail), Qiu Zhijie, Chinese, b. 1969, ink on paper, dimensions variable, photo: Courtesy of the artist.

Discover two compelling new exhibitions now on view at the Seattle Art Museum! Qiu Zhijie: Map of the History of Science and Technology unfolds as a sweeping visual atlas, tracing global systems of knowledge across cultures and time. Alongside it, Samantha Yun Wall: What We Leave Behind offers an intimate exploration of memory, identity, and the traces we carry forward.

Visit soon to experience these thought-provoking exhibitions and see how past, present, and possibility intersect at SAM.

Qiu Zhijie: Map of the History of Science and Technology
January 28, 2026 – January 31, 2029
Olympic Sculpture Park
PACCAR Pavilion

For the Seattle Art Museum’s Olympic Sculpture Park, the artist designed a Map of the History of Science and Technology. In this project, Qiu interweaves scientific and technical advancements in Asia and the West from ancient to contemporary times. The map calls out the discovery of bronze and iron, the invention of the wheel, the abacus and mathematical and scientific theorems, the plow, celadon ware, Roman cement, paper making, feats of engineering across the globe, as well as the bicycle, photography, acupuncture, the flush toilet, and more. The map traces the interconnectedness of ideas that have shaped the course of history across the globe.

To learn more, click here.

What We Leave Behind, 2025, Samantha Yun Wall, Korean/American, b. 1977, ink and conté crayon on Claybord, 60 x 84 x 2.25 in., Courtesy of the artist, © Samantha Yun Wall, photo: Mario Gallucci.

Samantha Yun Wall: What We Leave Behind
February 5 – October 4, 2026
Seattle Art Museum
Third Floor Galleries

Samantha Yun Wall’s new paintings use overlapping silhouettes of female figures as portals to unknown spaces and different temporal realms. Impetus for the new body of work is a Korean folk tale in which the Pasque flower is symbolic of a grandmother who passed away without the loving care of her grandchildren. It is a story of melancholy, loss, and remembrance. The delicate hair on the flower’s stem differentiates it, and the artist gives the plant a surreal aspect in some of her paintings, replacing the flower’s center with a watchful eye.

Yun Wall has long been interested in the personal narratives of people born to Asian women and US service members during times of military occupation in Asia. The artist is mindful of the fact that these Amerasian children are stigmatized and Black Amerasians even more so. Examining cultural taboos that perpetuate secrecy and silence, she presents her figures alternately as invisible and hypervisible in stark black and white.

To learn more, click here.