Events and Exhibitions: October 30 – November 5, 2015


Asia Contemporary Art Week kicks off this week with collaborations with over 40 New York and Asia-based cultural institutions and featuring over 150 artists from all across Asia.  This week we also have talks about millenials and golf in China, a re-imagining of Madame Mao’s The Red Detachment of Women in a meat processing plant that blurs the line between human and animal and serves as an allegory for organizational efficiency, two intriguing talks about Chinatowns in the United States, and listings of new exhibitions including three major artists: Zhang Huan, Zeng Fanzhi, and Martin Wong that bring the list of current exhibitions featuring artists of Chinese descent or relating to Chinese topics to 19.

Update: We added Angel of Nanjing, a documentary film by Jordan Horowitz and Frank L. Ferendo about a man who over 10 years has saved over 300 people from committing suicide from a bridge in Nanjing.

Update 2: The Assassin is also playing at Film Society Lincoln Center

Coming up:

Only November 8, Museum of Chinese in America invites Charlotte Brooks to examine how Chinese Americans who left the United States in the first half of the 20th century for China helped shaped the Republic of China.

Tan Dun’s Water Passion After St. Matthew will have two performances at the Metropolitan Museum of Art on November 14.

Taiwan’s percussive U Theatre bangs at BAM for three performances from November 19 – 21.

We add listings to our one-time and short term event and ongoing exhibition calendars as we learn of them.  If you know of anything or would like to contribute photos or an article, shoot us an email at

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Coming up this week…

1) White Haired Witch (白发魔女传之明月天国)

Dir. Jacob Cheung Chi Leung.
2015, 104 mins.
Digital projection.
With Fan Bingbing, Huang Xiaoming, Vincent Zhao, Wang Huebing, Li Xinru.

In the twilight of the Ming Dynasty, the Imperial court is plagued by corruption as tyrants rule over the land. With the Manchurians preying on a weakened empire, war is imminent. To save the victims from their suffering, sorceress Jade Raksha fights the soldiers that oppress people for their own gain. As payback, local government officials decide to pin the murder of Governer Zhuo Zhonglian on Jade, turning her and the members of her cult into wanted fugitives for a crime they did not commit.

Friday, October 30, 7:30 PM
Museum of the Moving Image, 36-01 35 Ave, Astoria
$12/Adult; $9/Student and Senior


2) FIELD MEETING Take 3: Thinking Performance – In connection with ACAW 2015’s signature exhibition Sonic Blossom by Lee Mingwei, co-presented at the Metropolitan Museum of Art, FIELD MEETING Take 3: Thinking Performance will stage performances, talks and discussions with over 30 keynote figures to foreground the multiplicity and critical role of performance work coming out of the context of Asia. Continuing our unique approach in providing an open platform for direct interaction between artists and an exclusive audience of arts professionals, FIELD MEETING focuses on creative process, conceptual exchange and collaboration to advance artistic endeavors. More importantly in the realm of this expanding field, Thinking Performance invites broader, more nuanced interpretations of performance work and fresh understandings of performativity in artistic production at large.

Chinese artists include Bingyi, Fu Xiaodong & Double Fly Art Center, Christopher Ho, Lee Mingwei, Liu Ding, Tang Dixin, Xiaoyu Weng, Ming Wong, Lantian Xie, Yan Xing.  Robin Peckham of LEAP will also participate.

Day 1: Saturday, October 31, 10 AM
Ruth and Harold D. Uris Center for Education – Bonnie J. Sacerdote Lecture Hall, The Metropolitan Museum of Art (Enter on 81st Street, to the left of main entrance)

Day 2: Sunday, Novemver 1, 10 AM
Hunter College Art Galleries, 205 Hudson St. 3rd floor (Enter through Gallery on Canal between Hudson & Greenwich St.)
$20/Art Professional; $10/Art Professional Student


3) Saving China’s Art: The Heiress, the Diplomat and the ‘American Emperor’ – The Renwen Society at China Institute and the Confucius Institute for Business at SUNY Global Center jointly present an illustrated lecture by Margaret Stocker, trustee of the India House Foundation, on a book she is writing: Saving China’s Art: The Heiress, the Diplomat and the ‘American Emperor.’ The heiress, philanthropist and suffragist was Dorothy Payne Whitney Straight, whose fortune flowed from the Standard Oil Company. The diplomat, Willard Straight, collected Indo-Tibetan and Chinese bronzes and wall hangings in Manchuria and Korea while a correspondent for the Associated Press during the Russo-Japanese War of 1904-5 and then through 1911 under the US State Department’s ‘Open Door to China’ policy. The ‘American Emperor’ is the title that the 13th Dalai Lama used to refer to Theodore Roosevelt.

The talk will feature the work of the Asiatic Institute, established by Dorothy and Willard Straight at India House, a private club in New York City they also founded. Ms. Stocker, formerly curator of the Collection at India House, has uncovered rare monographs published by the Asiatic Institute between 1913 and 1916 that reveal an international lobby to support Yuan Shikai and the newly established Republic of China and to save China’s cultural treasures and establish a museum in Peking. Her book will document the 1000 paintings, prints, ship models, and nautical artefacts exhibited in the ‘Old Cotton Exchange’ on Hanover Square in 1914, which document America’s expansion into the Pacific Basin in the nineteenth century.

Saturday, October 31, 2 PM
SUNY Global Center, 116 East 55th Street


4) MOCACITIZEN: The “Jook Sing” Generation: Chinese New Yorkers during the 1940s – 60s – Being a child of immigrant parents is a very New York story. During the 1940s, a significant population of New York City residents were children of immigrant. What was life like for the American children of Chinese immigrants to grow up in New York City? Sharing her findings from oral history interviews, Jean Lau Chin, author of Who are the Cantonese Chinese?: NYC Chinatown During the 1940s-60s, discusses how this “jook sing” generation navigated this space in between and their lives in New York.

Sunday, November 1, 2:30 PM
Museum of Chinese in America, 215 Centre Street
$12/Adult; $7/Student & Senior; Free/MOCA Members


5) Pink Detachment: Screening and Discussion with Jen Liu  – The combination of white and red into pink serves as a social solution on various fronts. Madame Mao’s Red Detachment of Women, a ballet from the Cultural Revolution about an all-women military corps – is redirected towards women whose violence has been transformed from the red of military action to the pink of factory food production. Hot dogs, as a particularly industrial food product, integrates the “undesirable” portions with the “desirable” portions of an animal for utmost efficiency and availability to the masses, while serving as a greater allegory for the possibilities of “pinko” communism: a vision of social harmony through a technologically-enabled abundance, political unification through compromise. This work was developed in part from a Triple Canopy performance and online publication commission, The Red Detachment of Women. The screening will be followed by a discussion with the artist.

This program is part of Really, Socialism?! at Momenta Art. This exhibition endeavours to vision socialist realism at a point where socialism is no longer real—a political attempt is predicated on revisiting the aesthetic question of realism. How can we strive to imagine the real beyond our conditions?

Sunday, November 1, 7 PM
Momenta Art, 56 Bogart Street, Brooklyn


6) From Chinatown to Chinese London: Migration, Ethnicity and Urban Space – Caroline Knowles is Co-Director of the Centre for Urban and Community Research (CUCR) and Professor of Sociology at Goldsmiths, University of London. Her most recent research projects include an investigation of the everyday life of London’s super-rich; a study of young Londoners in Beijing and young Beijingers in London; and an analysis of globalization from below through looking at the production and consumption of flip-flops.

Monday, November 2, 12:15 PM
Powdermaker Hall 202, Queens College, 65-30 Kissena Blvd, Flushing


7) Asia Contemporary Art Week Performance and Conversation – ACAW collaborates with Performa 15 in celebration of the Biennial’s 10th year of distinguished programming, for a special evening extension of FIELD MEETING: Thinking Performance, focusing on lecture-performance as a medium.

Introduced by Performa Curator-at-Large, Defne Ayas and led by ACAW Director Leeza Ahmady & Performa Curator Adrienne Edwards, the panel discussion includes artists Arash Fayez, Yan Xing, Liu Ding, Ming Wong, Lantian Xie, and curators Natasha Ginwala and Xiaoyu Weng.

Monday, November 2, 6:30 PM
Performa Hub, 47 Walker St.


8) China’s Millennials: The Want Generation with Eric Fish – In 1989, students marched on Tiananmen Square demanding democratic reform. The Communist Party responded with a massacre, but it was jolted into restructuring the economy and overhauling the education of its young citizens. A generation later, Chinese youth are a world apart from those who converged at Tiananmen. Brought up with lofty expectations, they’ve been accustomed to unprecedented opportunities on the back of China’s economic boom. But today, China’s growth is slowing and its demographics rapidly shifting, with the boom years giving way to a painful hangover.

Eric Fish visits China Institute to discuss his recently published work, China’s Millennials. In the book, Fish, a millennial himself, profiles youth from around China to show how they are navigating the education system, the workplace, divisive social issues, and a resurgence in activism. Based on interviews with scholars, journalists, and hundreds of young Chinese, his engrossing book challenges the idea that today’s youth have been pacified by material comforts and nationalism. Following rural Henan students struggling to get into college, a computer prodigy who sparked a nationwide patriotic uproar, and young social activists grappling with authorities, Fish deftly captures youthful struggle, disillusionment, and rebellion in a system that is scrambling to keep them in line—and, increasingly, scrambling to adapt when its youth refuse to conform.

Tuesday, November 3, 6:30 PM
China Institute in America, 100 Washington Street
$15/Non-member; $10/Member


9) The Forbidden Game: Golf and the Chinese Dream – Award-winning journalist Dan Washburn discusses of his recent book, The Forbidden Game: Golf and the Chinese Dream, which uses the politically taboo topic of golf to paint what critics have called “an illuminating portrait of modern China.” The Forbidden Game follows the lives of three men intimately involved in China’s bizarre golf scene, where new golf courses are at once banned and booming. Washburn, who lived in China from 2002 to 2011, spent more than seven years researching and writing the book described as “strikingly original” by The Wall Street Journal and “gripping” by The Economist. The Forbidden Game was named one of the best books of the year by The Financial Times.

Washburn will be in conversation with Brendan I. Koerner, the Queens-based author of the critically-acclaimed The Skies Belong to Us: Love and Terror in the Golden Age of Hijacking and Now the Hell Will Start: One Soldier’s Flight from the Greatest Manhunt of World War II.

Wednesday, November 4, 6:30 PM
Queens Library at Flushing, 41-17 Main St, Flushing


10) Am Evening with Jawshing Arthur Liou – Acclaimed Taipei and Indiana based artist will speak to ACAW Director Leeza Ahmady about his extraordinary videos and films, which he calls mindscapes, rendered in 3D using recognizable imagery to create otherworldy spiritual sanctuaries. In the context of Thinking Currents, Ahmady’s latest exhibition at the inaugural Seattle Art Fair (July 2015) with over 25 moving-image works by artists based in the Pacific Rim, including Liou’s video, Crossing.

Thursday, November 5, 6 PM
599 West, 599 11th Avenue, 5th Floor (45th & 44th St.)


11) Angel of Nanjing – The Yangtze River Bridge in Nanjing is one of the most famous landmarks in China. It is also the most popular place in the world to commit suicide. After hearing reports about this from the news, Chen Si, an ordinary man with no professional training, decided to do something about it. On September 19th, 2003, he went to the bridge with a heart-shaped sign that read, ‘Nothing is impossible. When God closes a door he opens a window.’ That morning he saved someone, and he has dedicated his life to standing vigil on that bridge ever since. Incredibly, he’s saved over 300 lives since he began.

One of the things Chen quickly learned was that saving someone on the bridge was just the beginning of what is often a long healing process. They still need help dealing with their problems and overcoming their grief, so he began renting a place using his own money where he takes them that allows him the time he needs to council and guide them towards changing their state of mind. He calls this place the ‘Soul Center.’

Despite all the lives he’s saved, Chen’s mission has taken an unexpected toll on him. He feels incredible guilt when he learns someone committed suicide while he wasn’t at the bridge, and even more when is there and is unable to save them. He’s become a heavy drinker and smoker, and often finds himself battling with depression, much like the people he’s saved. He is also under growing pressure from his family to quit, who cannot understand why he spends so much time and money helping others when he has his own family to support.

This film is the story of an ordinary man doing something extraordinary, and at great personal sacrifice. It is a personal portrait of a man, who in a country of over one billion people, has chosen to dedicate himself to making a difference, one person at a time.

Screened as part of the Big Apple Film Festival.

Thursday, November 5, 5:30 PM
Village East Cinema, 181 – 189 2nd Ave
$20/General Admission


12) MOCACITIZEN Building Community: A Conversation with Gordon Chin & Tarry Hum – San Francisco’s Chinatown was the birthplace of Chinese America, while Brooklyn’s Sunset Park has become one of New York City’s Chinatowns. Join Gordon Chin and Tarry Hum as they discuss the evolution of these two neighborhoods and consider how their social, economic, cultural, and political landscapes have been shaped.
Followed by book signing.

Thursday, November 5, 6:30 PM
Museum of Chinese in America, 215 Centre Street
$12/Adult; $7/Student & Senior; Free/MOCA Members

Ongoing Films and Shows

1) The Assassin 《刺客聶隱娘》 

Hou Hsiao-Hsien
2015 | 105 minutes | Taiwan/China/Hong Kong
Mandarin with English subtitles

A wuxia like no other, The Assassin is set in the waning years of the Tang Dynasty when provincial rulers are challenging the power of the royal court. Nie Yinniang (Shu Qi), who was exiled as a child so that her betrothed could make a more politically advantageous match, has been trained as an assassin for hire. Her mission is to destroy her former fiancé (Chang Chen). But worry not about the plot, which is as old as the jagged mountains and deep forests that bear witness to the cycles of power and as elusive as the mists that surround them. Hou Hsiao-hsien’s art is in the telling. The film is immersive and ephemeral, sensuous and spare, and as gloriously beautiful in its candle-lit sumptuous red and gold decor as Hou’s 1998 masterpiece, Flowers of Shanghai. As for the fight scenes, they’re over almost before you realize they’ve happened, but they will stay in your mind’s eye forever.

Best Director, Cannes Film Festival

Official selection: New York Film Festival

At IFC Center and Film Society Lincoln Center.


2) Goodbye Mr. Loser 《夏洛特烦恼》

Peng Damo, Yan Fei
2015 | 104 minutes | China
Mandarin with English subtitles

Comedians Shen Teng and Mai Li star in this film adaptation of the very popular Mainland theater play following the story of a middle-aged loser who finds himself magically transported back to his high school years, enabling him to fix all his life’s mistakes.

Opened at AMC Empire 25 on October 9


3) The Witness 《我是证人》– In this Chinese remake of the Korean film Blind, a blind girl and young boy accidentally become the witnesses to a rainy night kidnapping.  Their testimonies are entirely contradictory, but they collaborate to hunt down the murderer.

Opens at AMC Empire 25 on September 30.


Just added and opening:

1) The Brilliant Four Art Exhibition (Flushing Town Hall, 10/23 – 11/1) – Hosted by the Queens Education Center and assisted by Xi Yang Art Studio, this exhibition will feature the four famous artists’ -Arthur Liu, Melissa Yung, Jin Hua Wang & Paul Li – beautiful paintings and calligraphy.

As a professionally-trained artist, Arthur Liu has won an Ellis Island Medal of Honor. Arthur has also created a unique, patented method of painting–the Flowing Colors.   This method utilizes oil to paint in a traditional Chinese manner; it is a combination of Western materials and Chinese techniques. This technique allows his paintings to achieve an abstract and vibrant look. Some of Arthur’s works are in the possession of museums, universities and famous personages around the world. As the founder and president of the Queens Education Center, Arthur has passed boundaries in public art education.

Melissa Yung is the first international artist that has an art exhibition in the National Art Gallery in Beijing.  Her works have been sought after by the China National Museum as well as other museums, universities, and collectors.  Melissa’s paintings give off a unique and spiritual sense. She has had great success in various fields such as oil painting, water color, outline, Chinese free-style painting, and calligraphy. She is a director of the International Cultural Exchange Association, an organization under the All-China Federation of Returned Overseas Chinese. She is devoted to international cultural exchange while showing a profound appreciation for art.

Jin Hua Wang, the director of the Global Artist League, is a fine Chinese calligraphist.   His calligraphy has a strong and distinctive impact on its viewers. His work has been exhibited and awarded by various major art shows.  As an active member of Global Artist League, Jin Hua also has been devoted to promoting art in the local community.

Paul Li uses traditional brushes to glide powder charcoal to create his portraits. Paul Li studied painting at an early age; he had trained among the best in the Southern School of Painting. Among his peers, Paul Li is known as “a vivid touch”. Later in his career, Paul Li had dabbled in textiles in United States for a few years. His main works consists of watercolor and carbon powder.


2) Zhang Huan – Let There Be Light (Pace Gallery, 11/30 – 12/5) – Zhang’s new body of ash paintings—made between 2011 and 2014—present passages from the Bible and “The Star-Spangled Banner” in braille. Emphasizing surface, the works continue his use of incense ash from Buddhist temples as a medium while demonstrating a departure from the figurative themes of his earlier ash paintings.

Zhang’s monochromatic paintings, which differ in tone and surface value depending on the color and texture of the collected ash, have a minimalist quality with visual affinities to the work of Agnes Martin and Robert Ryman. Using the Chinese system of braille script, the paintings appear visually abstract but are concrete in their content. Zhang’s use of a Buddhist material draws parallels between Buddhist texts and those of the Bible, presenting themes of human nature, truth and kindness that can be read as universal. By rendering religious passages in a tactile writing system using an inherently fragile material, Zhang is relating materiality to the methodology of prayer and illusions of belief. The emphasis of braille as a textural surface read through touch resonates with the corporeal dimension of Zhang’s earlier performance work.

Zhang’s largest to date—measuring 122 feet long. Based on a photograph taken on June 15, 1964, the painting represents Mao Zedong surrounded by the central leaders of his government and over 1,000 loyal followers. For Zhang, who was born a year after the photograph was taken, the image prompts memories from his childhood during the Cultural Revolution. It represents a time in China’s history fraught with disaster and disorder, when Chairman Mao sought to consolidate his rule over the country. By sourcing imagery from a media archive of government-approved material, Zhang is highlighting the fallibility of a constructed memory. The ash painting presents the appearance and spirit of China at the time, highlighting a collective devotion and ideology based in communist and socialist thought.June 15, 1964 demonstrates the potential for human history to be interpreted through multiple cultures and systems of belief, generating a growing dialogue and platform of communication.

Conceptually, both bodies of work on view are embedded within a framework of systems. The figurative work adheres to a controlled set of images used by the government to craft a tailored representation of Chinese history, while the braille paintings follow a standardized system of reading and writing. The subjects of the braille texts further exist within the structure of a system by referring to the hegemonic forces of monotheistic religion and nationalism.

3) Zeng Fanzhi – Paintings, Drawings, and Two Sculptures (Gagosian Gallery, 11/6 – 12/23) – Zeng is at the forefront of a generation of Chinese artists who have achieved national and international prominence in the wake of the Cultural Revolution of the 1970s. Over the past three decades he has probed the place of the unconscious in the construction of human experience while reflecting on the collective national psyche in the face of broad and accelerated change…

With time, Zeng has tempered the direct impact of Western Expressionism with the local influence of traditional guohua painting methods. His eloquent and confrontational work is charged with melancholy, unfolding in a succession of dystopic themes, both introspective and overtly socially critical….

Recent paintings include large-scale nocturnal landscapes, some populated by anonymous figures or identifiable historical subjects; and smaller, more abstract canvases in which schematic black branches stand out in sharp relief against backgrounds of sweeping horizontal brushstrokes. In the landscape paintings, traditional techniques blend seamlessly with modern abstraction: in an idiosyncratic method originally adopted out of necessity due to injury, Zeng sometimes works with multiple brushes in each hand, undermining his own precision through a process that has become a continuous cycle of creation and destruction. The “abstract landscape” paintings evolve as if autonomously through the rhythmic processual vitality with which Zeng approaches his persistent motifs. Invoking a lineage beginning with Song Dynasty depictions of idyllic, imaginary vistas rendered in calligraphic strokes, he envisages vast scenes of bleak terrains spontaneously lit with bright pinks and blues, and eclipsed by jagged black branches, graphic in their concise and sinister silhouettes.

In the cast metal sculptures, the tree, a symbol of growth and aspiration, is reduced to the melancholic figure of a single gnarled and wintry limb. For the first time, Zeng will show related mixed-media drawings, developed over many years.

Other paintings juxtapose carefully adapted art-historical subjects with spontaneous brushwork, oscillating between a meticulous cut-and-paste sensibility and gestural mark-making. An exacting close-up of Laocoön’s head—an homage to the classical Western depiction of agonizing ordeal—is cast against a mercurial, nebulous sky; while a Nativity scene is partially obscured by yellow paint drips against a dark landscape. Depicting Greco-Roman and Christian subjects and motifs within fields that merge restrained traditional Chinese techniques with the unleashed energies of action painting, Zeng has forged a poignant, potent, and topical expressionism that reaches across culture and history.


4) Martin Wong: Human Instamatic (11/4/15 – 2/14/16) – Chinese-American painter Martin Wong’s (1946-1999) first museum retrospective of his work since his untimely death in 1999 at the age of 54. This project gains momentum from recent exhibitions examining Wong as a collector and source of inspiration for contemporary artists: City as Canvas (Museum of the City of New York, 2014); Dahn Vo, I M U U R 2 (Solomon R. Guggenheim Museum, 2013); and Taiping Tianguo: Ai Weiwei, Frog King Kwok, Tehching Hsieh, and Martin Wong in New York (Para Site, Hong Kong, 2012; and e-flux, NY, 2014). In contrast, Human Instamatic will offer the first in-depth assessment of Wong’s formal contributions as a painter, placing his work in line with such 20th-century painters as Marsden Hartley and Alice Neel, both renowned for their insightful portraits of the communities in which they lived. Co-curated by Sergio Bessa and Yasmin Ramirez, the exhibition will feature over 90 of Wong’s paintings with rarely-seen archival materials from the Martin Wong Papers at the Fales Library of New York University.

Human Instamatic will explore Wong’s engagement with his community as a major concern of his practice. The exhibition will trace Wong’s development as an artist, beginning with his transition from an introspective youth in San Francisco painting haunting self-portraits to his self-identification in the mid-1970s as the “Human Instamatic,” a street artist selling portraits of passersby in Eureka, CA. Human Instamatic will highlight Wong’s later years in New York City, where he played a pivotal role in the Lower East Side (LES) arts scene in the 1980s/90s, a period in which he created an oeuvre immortalizing the vibrancy of a resilient, artistic, and multi-ethnic community facing displacement. The exhibition will feature Wong’s diaristic renderings of the LES Latino community, NYC’s Chinatown, graffiti artists, and later works created in San Francisco, where he returned in 1994.


Closing soon:

inToAsia: Time-based Art Festival – Architectural Landscapes: SEA in the Forefront (Queens Museum 10/3 – 10/31)

Willie Yao – Solo Exhibition (Carma Restaurant, 9/9 – 10/31)

The Brilliant Four Art Exhibition (Flushing Town Hall, 10/23 – 11/1)

Helen Lee – Becloud (Agnes Varis Art Center, 9/16 – 11/7)

Lee Mingwei – Sonic Bloom (Metropolitan Museum of Art, 10/30 – 11/8)

Yu Lik Wai – It’s a Bright Guilty World (WhiteBox, 10/8 – 11/8)

Visit the exhibition calendar ( for details for the following shows below.  As always, check the museum or gallery’s website for hours of operation.

inToAsia: Time-based Art Festival – Architectural Landscapes: SEA in the Forefront (Queens Museum 10/3 – 10/31)

Willie Yao – Solo Exhibition (Carma Restaurant, 9/9 – 10/31)

The Brilliant Four Art Exhibition (Flushing Town Hall, 10/23 – 11/1)

Helen Lee – Becloud (Agnes Varis Art Center, 9/16 – 11/7)

Lee Mingwei – Sonic Bloom (Metropolitan Museum of Art, 10/30 – 11/8)

Yu Lik Wai – It’s a Bright Guilty World (WhiteBox, 10/8 – 11/8)

Chen Wenbo (陈文波): The Fat Years《盛世华年》– (Klein Sun Gallery, 10/14 – 11/14)

Li Liao (李燎): Attacking the Boxer from Behind is Forbidden 《严禁在背后袭击拳手》(Klein Sun Gallery, 10/14 – 11/14)

MINIMAX (abastraction for lack of a better determination) (Bullet Space, 292 E. 3rd Street, 10/16 – 11/22)

Chinese American Arts Council 40th Anniversary Show (Gallery 456, 10/30 – 12/4)

Zhang Huan – Let There Be Light (Pace Gallery, 11/30 – 12/5)

“Who is My Neighbor? NYC” (Walls-Ortiz Gallery and Center, 9/12 – 12/8)

Body Politics (Gibney Dance: Agnes Varis Performing Arts Center, 10/15 – 12/11)

Schutze Stone – One Buck Mobile Art Show #bigmoneybigart (mobile gallery, 10/24 – 12/23)

Zeng Fanzhi – Paintings, Drawings, and Two Sculptures (Gagosian Gallery, 11/6 – 12/23)

SUB URBANISMS: Casino Urbanization, Chinatowns, and the Contested American Landscape (Museum of Chinese in America, 9/24 – 1/31/16)

Chinese Style: Rediscovering the Architecture of Poy Gum Lee, 1923-1968 (Museum of Chinese in America, 9/24/15 – 1/31/16)

Martin Wong: Human Instamatic (11/4/15 – 2/14/16)

Zhang Hongtu (Queens Museum, 10/18/15 – 2/28/16)

Lead image: The outdoor artistic installation “Heavenly Lanterns–Tea House” designed by Chinese artist Gu Wenda is seen in central Brussels, capital of Belgium, Oct. 15, 2009. This eyecatching decoration made up of over 5,000 lanterns, covering a local building in the shape of a pavilion, is created by Gu Wenda to celebrate the ongoing Europalia China Art Festival in Brussels.  From the Embassy of the People’s Republic of China in the Kingdom of Belgium.