NYC Chinese Cultural Events and Art Exhibitions: April 20 – April 26, 2018

Mural Painting in Wuhan

This week: A collaboration between avant-garde Laurie Anderson and Taiwanese new media artist Hsin-Chien Huang and a documentary on designer Guo Pei at the Tribeca Film Festival; a discussion on the directions for Asian and Asian American artists; events from Pen America’s World Voices Festival; a documentary on Africans in Guangzhou; a discussion about celebrated LGBTQ advocate and author Qiu Miaojin with two of her translators; 10 new exhibition listings spanning Buddha sculptures from the Tang Dynasty; emerging contemporary Chinese art, Chinese medicine in the United States; and more…

In addition to the listings below, Pen America’s World Voices Festival presents at the Nuyorican Poets Cafe a translation slam, a discussion between poets writing in Mandarin and Catalan who present competing poetry translations that vie for audience approval Featuring Macau poet Un Sio San and Catalan poet Maria Cabrera Callís, and translators Bonnie Huie, Amanda Lee Koe, Mara Faye Lethem, and Mary Ann Newman. Hosted by Michael Moore and writer and translator Jeremy Tiang.  Thursday, April 19, 7 – 8:30 PM

Coming up:

April 27 –  A survivor of the Nanjing Massacre shares her story in a documentary

May 4 – A film about bureaucratic corruption and conspiratorial silence that puts vulnerable young women at risk and which resonates with the #MeToo moment

Our weekly listing now includes open calls and other opportunities for artists, filmmakers, and others involved with Chinese culture in this intro section.

4th D.C. Chinese Film Festival – The DC Chinese Film Festival has announced its open call for submissions. The Festival is determined to provide a global platform for Chinese-speaking filmmakers, films in the Chinese language, and films about Chinese-speaking cultures. We have been very impressed by the depth and breadth of its programming. Two years ago, we happened to be in DC during the festival and caught ‘The Chinese Mayor’ and was really impressed by the inquisitiveness of the audience and the long, unrushed, and thoughtful conversation with director Zhou Hao following the film.

Regular deadline: May 1, 2018


We add talks, films, performances, exhibitions, featuring or relating to Chinese, Taiwanese, diasporic artists and topics to our event and ongoing exhibition calendars as we learn of them.

We post frequently on our Facebook page.  So check the page for links we share and get a heads up on events before we include them in these weekly posts.  For art, images, and other instances of Chineseness we see, follow us on Instagram.

We’re looking for contributors!  If you’re interested in writing an article, contributing photos or artwork to be featured with our weekly events and exhibitions listing, letting us know about an event, send a pitch at


1) Abacus: Small Enough to Jail – Founded in 1984, Abacus Federal Savings Bank (國寶銀行) is one of the banks in New York City’s Chinatown that serve the Chinese immigrant community. In the wake of the 2008 financial crisis, it became the only U.S. bank to face criminal charges.

Come for a screening of the Academy Awards-nominated documentary by Steve James, Abacus: Small Enough to Jail that tells the saga of the five-year legal battle of the Chinese immigrant Sung family, owners of Abacus Bank, accused of mortgage fraud by Manhattan District Attorney Cyrus R. Vance, Jr.

Followed by Q&A with Sung family members.

Friday, April 20, 6:30 PM
Museum Of Chinese In America, 215 Centre St.


2) Homeward Bound: West Coast Chinatown Solidarity Tour – Recognizing that gentrification is not isolated but part of a larger system of dispossession, Diane Wong and Mei Lum wanted to learn how other communities were fighting for their homes and neighborhoods. Bringing their work from east to the west coast in October 2017, Diane & Mei were able to learn from tenants, organizers, small shop owners, restaurant and garment workers, artists, allied researchers, and nonprofit workers in San Francisco, Los Angeles, Vancouver, and Seattle Chinatown. Together they share their reflections and stories of those they connected and built with during their time on the west coast.

Homeward Bound: Memories, Identity, and Resilience across the Chinese Diaspora is a series of public events that highlights everyday resilience in Chinatowns around the world. It is spearheaded by three local artists, ethnographers, and facilitators of The W.O.W. Project: Diane Wong, Mei Lum, and Huiying Bernice Chan, who have spent the past several years conducting ethnographic research and oral history interviews with the Chinese diaspora in New York City, San Francisco, Boston, Los Angeles, Vancouver, Seattle, Lima, Havana, Johannesburg, Ho Chi Minh City, Kuala Lumpur, and Sydney. Each of these communities have overcome extraordinary struggles due to the lasting impacts of war, violence, displacement, and dispossession. This public series is the first of its kind to preserve and build on the history of Chinatowns around the world through community-led and curated narratives from residents globally. By sharing an expanded collection of oral history interviews, photographs, and videos, we hope to build collaborative knowledge and space for community members to come together to expand our understanding of diaspora.

Friday, April 20, 7 PM
Wing On Wo & Co., 26 Mott Street


3) A Fable for Now – In this play by Taiwanese playright Wei Yu-Chia, tales of war, the environment, and personal regret collide as mankind hurtles towards a surreal apocalypse in the company of a belligerent duck, bears of at least three different varieties, and a truly extraordinary chicken.

Part of the PEN World Voices: International Play Festival 2018

Saturday, April 21, 2 PM
Martin E. Segal Theatre Center, 365 5th Ave.


3) Community Art Spaces: Directions for the Future – For eight months, Think!Chinatown and chashama have presented pop-up exhibitions at the 384 Broadway Community Art Space with the mission to increase representation of Asian and Asian American artists and test new ways for galleries in Chinatown to better engage the neighborhood. The space has featured work by over twenty-five artists from multiple generations over the course of six exhibitions. As this project comes to a close, we ask the artists and community involved to reflect and point us in directions for the future.

What are issues that we need to work on as artists, curators, and young organizations? As large institutions like museums have repeatedly come under fire for being too political or not political enough, what is the role of community art spaces and non-profits in holding space for explorations of Asian and Asian American subjectivity? And how does this map on to issues of gentrification in the neighborhood?

Screening: 4:15 PM

“Ming Fay” (6 min.) and “Think!Chinatown Presents Asian American Artists @ 384 Broadway” (4 min.)
Director: Hai-li Kong

Artist Roundtable: 4:30 – 6 PM
Moderators: Stephanie Tung and Simon Wu

Saturday, April 21, 4 – 7:30 PM
384 Broadway


4) Qiu Miaojin: Legacy of an LGBTQ Countercultural Icon – As courts pave the way for the introduction of same sex marriage rights in Taiwan, the novels of Qiu Miaojin, who killed herself at age 26, open a door to a time of great change in Taiwanese culture, from the social and political vilification of LGBTQ people there to the underground explosion of gender and LGBTQ diversity. Bonnie Huie, translator of Qiu’s Notes of a Crocodile, and Ari Larissa Heinrich, translator of her Last Words from Montmartre, talk to poet and novelist Eileen Myles about an artist who has become a countercultural icon and whose work has had a lasting impact on literature and LGBTQ identity in Taiwan.

Part of the Pen America World Voices Festival

Saturday, April 21, 7:30 PM
Dixon Place, 161A Chrystie St.


5) Shan.Shui (山水, Mountain Water) – An improvisational concert of music and dance in six movements by cellist JunYi Chow, shō player Chatori Shimizu, crystal singing bowl player Miyoko Satoh, and binbinFactory dance artist Satoshi Haga.

The performance is inspired by the paradoxical feelings that arise when viewing paintings in the Shan.Shui landscape tradition of China, particularly scenes of mountains bathed in clouds. The typically blueish mist suggests the gently flowing waves of a tranquil sea, and yet the vastness of the mountain ranges also imparts a sense of magnificent solidity. Holding this image and these feelings in their mind, the performers will seek to transmit them in some way to the audience through six sections of about 10 minutes each: Solo 1 – Solo 2 – Duo – Trio – Quartet – CODA.

Sunday, April 22, 7 PM
CRS (Center for Remembering & Sharing), 123 4th Ave #2


6) The 36th Chamber of Shaolin 《少林三十六房》– One of the greatest kung-fu films of all time is back on the big screen with the fury of 1,000 fists! After a deadly attack from anti-Ching patriots, San Te (the legendary Gordon Liu of Kill Bill) devotes himself to learning the martial arts under the guidance of Ho Kuang-han, in order to seek revenge upon the thugs who attacked his school. Also known as The Master Killer and Shaolin Master Kiiller , this movie contains one of the most unbelievable training montages ever put to film, as San Te works his way through the 35 chambers. Masterfully directed by Shaw Brothers favorite Chia-Liang Liu, The 36th Chamber of Shaolin was a major influence on the Wu-Tang Clan, and set the high bar on kung-fu movies for the rest of history.

New restoration courtesy Celestial Pictures and AGFA.

Sunday, April 22, 9:30 PM
Alamo Drafthouse Brooklyn, 445 Albee Square West, Brooklyn


7) Better Angels – China’s rise has become one, if not the most consequential developments for the world — an economic and geopolitical phenomenon that has not gone unnoticed by the U.S. The “Thucydides Trap” of great power conflict due to a state of mutual distrust has, therefore, become a subject of discussion in recent years. Are the U.S. and China destined for war?

Asia Society hosts this members only screening of Better Angels, a documentary film that argues for the U.S. and China to overcome economic rivalries, ideological challenges and cultural differences to achieve mutually beneficial outcomes not only both countries but also for the world. For these events to occur, the “better angels of our nature,” in both the East and the West, will need to disavow the grave pronouncements of naysayers and skeptics on both sides who staunchly maintain that conflict between these two great nations is all but inevitable. The screening will be followed by a Q&A with director Malcolm Clarke, and producers William Mundell and Yi Han.

Tuesday, April 24, 6:30 PM
Asia Society


8) Guangzhou Dream Factory Immigration, globalization, Chinese factories and African dreams…Guangzhou Dream Factory weaves stories of Africans chasing alluring, yet elusive, “Made in China” dreams into a compelling critique of 21st century global capitalism.

Guangzhou, a.k.a. Canton, is southern China’s booming commercial center. A mecca of mass consumption, the city’s vast international trading centers attract more than half a million Africans each year. Most are doing business – in China to buy goods they’ll sell back in Africa. But some choose to stay, and for these Africans China looks like the new land of opportunity, a place where anything is possible. But is it?

Featuring a dynamic cast of men and women from Cameroon, Kenya, Nigeria and Uganda, Guangzhou Dream Factory provides a rare glimpse of African aspirations in an age of endless outsourcing.

Wednesday, April 25, 6:30 PM
14A Washington Mews, 1st Floor


1) Chalkroom – The virtual reality work, Chalkroom, co-created by American avant-garde artist Laurie Anderson and Taiwanese new media artist Hsin-Chien Huang, makes its New York premiere at this year’s Tribeca Film Festival. Expanded from previous piece initially installed at Mass MoCA, Chalkroom, was selected for the 74th Venice Film Festival and won the Best VR Experience Award under its Italian title La Camera Insabbiata.

Chalkroom consists of eight rooms in which the viewer flies through an enormous structure made of words, drawings, and stories. Inside the experience, the viewer is free to roam and fly, while words sail through the air like emails, fall into dust, and form and reform. “VR and the ‘new media’ we talked about in the past are greatly different,” says Hsin-Chien Huang, the new media creator with backgrounds in art, design, engineer and digital entertainment. “VR releases all energy hidden within the possibilities, and in a world created by VR, imagination is the only limitation.”

Part of the Tribeca Film Festival

Friday, April 20 – April 29, 12 – 3 PM (the work is one of 26 in the Tribeca Film Festival’s Virtual Arcade. Tickets are for 3 hour sessions at the arcade.  See for more details)
Tribeca Film Festival Hub (Spring Studios), 50 Varick Street


2) Ghostbox Cowboy – David Zellner shines in this darkly comedic morality tale that examines the inner workings of China’s economic engine and the lengths outsiders will to go to get in on the game. Texan Jimmy Van Horn (Zellner) arrives in China brimming with optimism, only to realize that acquiring a share of the country’s rapidly growing riches is not as easy as it appeared from back home. Armed with an absurd product pitch and short on the charisma or quick thinking needed to convince local businessmen of his sincerity, Jimmy soon finds himself out of funds, leaving him at the mercy of those who promise to help him stay in the place he’s gambled away his entire livelihood to be. As it turns out, there’s a lot of unpleasant work in China for guys who look like Jimmy Van Horn.

Writer, director, and cinematographer John Maringouin has developed a startling visual language to communicate this parable about what happens when Western assumptions meet the realities of the Chinese tech industry. The swirling, overwhelming environment he conjures seems preternaturally positioned to bring Van Horn down. Ghostbox Cowboy delivers a humorously fresh and complex perspective on China’s economic growth and uncovers the machinations that lurk just below the stereotypical facade.

Screens as part of the Tribeca Film Festival

Still from ‘Ghostbox Cowboy’

Thursday, April 19, 9:15 PM
Friday, April 20, 7:30 PM
Wednesday, April 25, 8:15 PM
Cinépolis Chelsea, 260 W 23rd St.

Saturday, April 21, 8 PM
Regal Cinema Battery Park


3) Yellow is Forbidden – Recognition from Paris’s Chambre Syndicale de la Haute Couture is considered the apex of the fashion industry, and Chinese designer Guo Pei is determined to reach it.

With a remarkable eye for detail and exquisite blending of visual art forms, veteran documentarian Pietra Brettkelly captures Guo’s drive, artistry, meticulousness, and acumen, from the designer’s emergence on the international scene—when Rihanna wore her hand-embroidered canary yellow gown to the Met Gala in 2015—through her remarkable 2017 show “Legend,” presented at La Conciergerie, in Paris. Along the way, Brettkelly reveals the myriad opposing forces that confront Guo’s ambitions: those of tradition versus modernity; acceptance versus prejudice; and ensuring a thriving business versus pursuing more expensive and exclusive techniques. Motwost of all, she highlights the pressures China’s economic rise places on its individual artisans—as Guo puts it, “I’m a designer, not a nation.” Nevertheless, Guo thrives amid these challenges, establishing herself as a singularly capable and uncompromising warrior for her art. With loving fidelity for Guo’s work, Brettkelly depicts both the process and the fashion itself, resulting in a timely examination of what it takes for an outsider to earn acclaim from one of the West’s most redoubtable institutions.

Screens as part of the Tribeca Film Festival

Saturday, April 21, 6 PM
Cinépolis Chelsea, 260 W 23rd St.

Sunday, April 22, 8:30 PM
Monday April 23, 3:15 PM
Saturday, April 28, 6 PM
Regal Cinema Battery Park


Group Shows, Local Artists, and Other Art Events:

7 galleries from China and 12 from Taiwan participate in Artexpo New York, which runs from April 19 – 22 at Pier 94.  Scroll to the bottom of the exhibitor preview list and search “China” or “Taiwan” for the exhibitor names.

Hong Kong artist Wong Ping and Chinese artists Song Ta and Shen Xin are part of the New Museum’s triennial group show Songs for Sabotage which “questions how individuals and collectives around the world might effectively address the connection of images and culture to the forces that structure our society. Together, the artists in Songs for Sabotage propose a kind of propaganda, engaging with new and traditional media in order to reveal the built systems that construct our reality, images, and truths. The exhibition amounts to a call for action, an active engagement, and an interference in political and social structures urgently requiring them.”


Opening and Newly Listed:

1) Pity Party (Sleep Center, 4/13 – 5/4) – A group exhibition with Bing Bin, Cao Shu, Cao Zilin, Cui Shaohan, Gao Yuan, Geng Jianyi, Huang Jingying, Li Ming, Li Qi, Li Ran, Tang Chao, Weiyi Li, Zhu Changquan.  See exhibition page for the introduction to the exhibition, which ends with “[If] the above have [sic] failed to give any specific direction. If you must blame, blame on the fact that a sentence cannot exist without its subject presents.”


2) Subject: China (NYU China House, 4/13 – 5/31) –  Featuring works of 12 NYU student photographers, the exhibition will present views of China from various styles and perspectives.


3) Cici Wu: Upon Leaving the White Dust (47 Canal at 291 Grand Street, 4/18 – 5/27) – Upon Leaving the White Dust is a situation created by distance, my last temporary state of being with the unfinished film White Dust from Mongolia (1980) by artist Theresa Hak Kyung Cha (1951-1982). It perhaps will always stay at the “temporary state of being with”, crude and open, as if the moment of leaving a movie theater could actually be pulled very very long.

Read the entire press release.


4) Chinese Medicine in America: Converging Ideas, People, and Practices (Museum of Chinese in America, 4/26 – 9/9) – A sweeping cultural exploration of Chinese medicine that combines ancient metaphysical concepts including yin yang, qi, and five phases with the modern practices of Chinese medicine in America, such as herbal treatments and acupuncture. The exhibition tells a cross-cultural story of Chinese medicine and practices in America through historical medical artifacts, contemporary art, and profiles on notable figures in Chinese medicine history to create an engaging space for exploring how medicine, philosophy and history are linked.

Chinese medical practices and medicines are all around us. In the mid-19th century, these “mysterious and magical” practices and concoctions arrived alongside the earliest Chinese immigrants who built the railroads and searched for gold. In the 1970s, this “alternative” medicine was best known as acupuncture. Today, aspects of Chinese medicine are becoming more integrated into healthcare practices in America. With its perceived evolution, is Chinese medicine now better understood? What underlies its mechanisms and how best are these investigated? How can it continue to benefit healthcare in America? What is its history in America?


5) On the Shelves of Kam Wah Chung & Co.: General Store and Apothecary in John Day, Oregon (Museum of Chinese in America, 4/26 – 9/9) – An immersive exhibition that celebrates the medical practice of Ing “Doc” Hay who became a prominent figure in eastern Oregon after the California Gold Rush.

Immigrating to the U.S. in 1877, Ing Hay brought his knowledge of herbology and pulsology to a remote part of Oregon during a time when Western medicine was still in its infancy. Practicing out of the Kam Wah Chung & Co. general store in a town called John Day, the exhibition includes Chinese patent medicines developed by the doctor, as well as archival materials such as historical photographs, patient records and correspondences with non-Chinese settlers. In doing so, the exhibition provides an illustration of day-to-day life in the region, and a lesser-known history of Chinese immigration in the Pacific Northwest.


6) Jia-Jen Lin – Funes’ Broken Mirror (Rubber Factory, 4/21 – 5/23) – Lin presents an installation consisting of sculpture, video, found objects, and text. Lin looks into the subjects and their visual representations, such as memories, relationships, modifications of objects and images, and our consciousness within this prevailing era of technology, using specific personal experiences as a point of departure. By employing her body and mind as a platform to process information, like a doctor with a “medical gaze” on the human body, Lin holds up a mirror to examine psychological experience and transcribe the abstract processes into a three-dimensional visual presentation.

Inspired by the character Ireneo Funes in Jorge Luis Borges’ novella Funes the Memorious, a man whose memories are forever imprinted in his mind as a vast mirror of the world, Lin envisions herself in his mind, reimagining how those glimpses of moments would look and feel during one of Funes’ sleepless nights. While digging through those lucid, instantaneous, and indistinct moments of her own life, Lin reconnects certain fragments of objects and memories that converge upon one space, despite the differences in location and time.

Continue reading the press release.

Opening reception: April 21, 6 – 8 PM


7) Chen Chengwei: The Chase of Light (Crossing Art Project, 4/19 – 4/26) – For his first solo exhibition in NYC, Chen presents a latest series of oil paintings based on the theme of light. Mastered the tranquility of the natural light in his landscape painting, Chen further applied chiaroscuro (Italian: the dramatic use of light) in his still life and self-portraits, and eventually elevated the use of light in his work to signify the nobility in human nature.

Opening reception: April 19, 6 – 8 PM


8) Katie Yang – Serendipity (Denise Bibro Fine Art, 3/15 – 4/28) – Yang’s work is comprised of bodies of work sculpted and fired in clay. After practicing as a lawyer Yang stopped and reverted to her dream of becoming a full-time artist. For almost a decade she has pursued her mission and journey with clay.

Yang’s abstract biomorphic sculptural forms explore the mysterious nature of form and space-juxtaposing “certainty, and deliberate intent with chance…” Her pragmatic nature as a lawyer has enhanced her creative process. Yang delves into the journey of the known and the unknown. Her work elicits a “sense of things”.

Her artistic language is informed by both Eastern and Western cultural influences having been bought up in Taiwan and then living for many years in the United States. Chinese painting and notation and works by Monet influence her innate sense of patination, color and texture. Brancusi and Noguchi influences can be found in her undulating flowing curvilinear forms; defining her dimensionality and aesthetic Yang’s work hold their own singularly and as part of a whole sculptural installation of forms.


9) Matthew Wong (Karma Gallery, 3/22 – 4/29) – Working with equal curiosity and confidence in oils and watercolors, Chinese Canadian Wong deploys a wide-ranging color, tonal, and mark-making vocabulary to delineate psychological and metaphysical spaces at once familiar and uncannily strange. The use of planar space, contrast between wet and dry, as well as the application of dots and rudimentary marks in Chinese ink painting have influenced Wong’s conception of painting as an activity for mark-making and color application.

The artist often employs seemingly contradictory modes side by side or one on top of the other. He allows for the simultaneity of a thick daub of orange with willowy strips of green, and the spaces they appear to delineate invite exploration over time. In that sense, these works on paper and canvas use the framework of landscape and narrative composition to think through and with time. This is the time spent walking, living, looking, thinking, drawing, and painting. The horizontal bands of color in Pink Sunset, 2018, evoke the perceptual sensation of watching the light change as a day wears on, while the flames in Somewhere, 2017 bring to mind an intense and fleeting perceptual sensation. The spaces in time created by Wong’s activity allow a world to emerge that has never existed but that seem familiar: landscapes, presences, lived environments, human existences are traversed and collectively form a map without boundaries.


10) Sui to Tang, A Golden Age of Chinese Buddhist Sculpture (Throckmorton Fine Art, 3/1 – 4/28) – An exhibit of thirty early Chinese Buddhist sculptures dating from the Sui to Tang Dynasties, 581 – 907 CE. The era represents the Golden Age for Chinese Buddhist sculpture when the visual forms of Buddhism were fully integrated into Chinese culture.

The essay by the scholar Dr. Qing Chang for the catalogue explores how the development of Chinese Buddhist sculpture corresponds with the spread into China of Buddhism from India following the Silk Road through Central Asia. The exchange of monks traveling from India and Central Asia to China, and from China to India, was accompanied by the diffusion of sacred texts and portable works of art, including sculpture.

The sculptures in the exhibition follow the progression of the “sinicization” of the visual forms of Buddhism from India to a fully Chinese expression. The exhibition includes an exceptional example of the earlier style in a large elaborately bejeweled Bodhisattva in the Northern Zhou/Sui style that still retains the Indianized facial features reflecting the Gupta style. Sinicization can be said to be completely expressed in an enthroned marble Buddha shown, which is in the “High Tang” style, developed during the Wu Zeitang period, in the mid 800 CE.

Buddhism was adopted at the highest levels of Chinese society and was supported by the Imperial Court. The empress Wu Zeitian (r. 684-704 CE) was the only woman to rule China as emperor, and her patronage was responsible for a number of important sites of Buddhist sculpture that still remain and are the height of Tang art. The nearly three centuries of sculptures highlighted in the exhibition was a particularly rich period of artistic production of Buddhist art.

From Throckmorton Fine Art

Closing soon:

Art Across Archives (384 Broadway, 2/17 – 4/22)

Chen Chengwei: The Chase of Light (Crossing Art Project, 4/19 – 4/26)

Benrei Huang: My Own Keepers (Gallery 456, 3/30 – 4/27)

Sui to Tang, A Golden Age of Chinese Buddhist Sculpture (Throckmorton Fine Art, 3/1 – 4/28)

Katie Yang – Serendipity (Denise Bibro Fine Art, 3/15 – 4/28)

Matthew Wong (Karma Gallery, 3/22 – 4/29)

Current shows:

Visit the exhibition calendar for details for the current shows listed below. Check the museum’s or gallery’s website for hours of operation.

Art Across Archives (384 Broadway, 2/17 – 4/22)

Chen Chengwei: The Chase of Light (Crossing Art Project, 4/19 – 4/26)

Benrei Huang: My Own Keepers (Gallery 456, 3/30 – 4/27)

Sui to Tang, A Golden Age of Chinese Buddhist Sculpture (Throckmorton Fine Art, 3/1 – 4/28)

Katie Yang – Serendipity (Denise Bibro Fine Art, 3/15 – 4/28)

Matthew Wong (Karma Gallery, 3/22 – 4/29)

Cocoon (Pfizer Building, 4/19 – 5/4)

Pity Party (Sleep Center, 4/13 – 5/4)

Yingqian Cao – The Illusion of Certainty (Pearl River Mart Gallery, 5/12)

Jia-Jen Lin – Funes’ Broken Mirror (Rubber Factory, 4/21 – 5/23)

Cici Wu: Upon Leaving the White Dust (47 Canal at 291 Grand Street, 4/18 – 5/27)

Subject: China (NYU China House, 4/13 – 5/31)

Yan Shanchun: West Lake II (Chambers Fine Art, 4/19 – 6/2)

Chen Dongfan: Nevermore (昨夜星辰昨夜风) (Fou Gallery, 4/14 – 6/24)

Cheryl Wing-Zi Wong: Constellation (Seward Park, June 2017 – June 2018)

Spirited Creatures: Animal Representations in Chinese Silk and Lacquer (The Metropolitan Museum of Art, 10/21/17 – 7/22/18)

Mel Chin: All Over the Place (Queens Museum, 4/8 – 8/12)

Land: Zhang Huan and Li Binyuan (MoMA PS1, 4/15 – 9/3)

Chinese Medicine in America: Converging Ideas, People, and Practices (Museum of Chinese in America, 4/26 – 9/9)

On the Shelves of Kam Wah Chung & Co.: General Store and Apothecary in John Day, Oregon (Museum of Chinese in America, 4/26 – 9/9) –

Streams and Mountains without End: Landscape Traditions of China (The Metropolitan Museum of Art, 8/26/17 – 1/9/19)

Lead image: Mural painting in Wuhan. Photo by Andrew Shiue