Pace Gallery (New York / London / Hong Kong / Palo Alto / Seoul / Geneva) highlighted a selection of YOSHITOMO NARA’s small-scale drawings of expressive young girls from the mid-2000s to present.
Vitamin Creative Space (Guangzhou / Beijing) presented a solo show of KOKI TANAKA’s conceptual photographic works from his series Precarious Tasks (2012–17), which document staged collective acts, such as walking with dogs, in cities around the world.
PARK SEO-BO’s Dansaekhwa canvas Ecriture No. 161029 (2016) hung next to HAEGUE YANG’s suspended sculpture Sonic Gym Brass-Dripping Odyssey and assembled images from electronics sales brochures Hardware Store Collage – Samsung QLEDs and Floor Lamp #1 (both 2019) at the booth of Kukje Gallery (Busan / Seoul).
Magician Space (Beijing) presented photographer SHI GUOWEI’s large-scale, hand-tinted details of landscapes, Painting from Nature C, Painting from Nature D and Painting from Nature A, which blur the boundary between painting and photography.
Galerie Nagel Draxler (Berlin / Cologne / Munich) showed ABDULNASSER GHAREM’s simulated highway sign Road to Makkah (2019), which funnels traffic based on religion, above HEIMO ZOBERNIG’s Untitled painted cardboard sculptures (all 1988).
Abstract paintings by KAZUMI NAKAMURA and YUKIE ISHIKAWA, respectively titled Ranging Difference—Broken Shelter (Brown and Emerald Green) (1994–95) and The Sky Through a Window Opening Gently 1 (1999), were featured in the exhibition “Parergon: Japanese Art of the 1980s and 1990s” at Blum & Poe (Los Angeles / New York / Tokyo).
SCAI the Bathhouse (Tokyo) juxtaposed KOHEI NAWA’s sculptural deer head PixCell-Deer#54 (2018) and TOSHIKATSU ENDO’s conceptual collage Void – Two Coffins (2015) in a small inner room of the gallery’s booth.
Green Art Gallery (Dubai) paired HERA BÜYÜKTAŞÇIYAN’s large-scale drawings of imaginary cities, Terrestrial I and II, and a sculptural installation of rolls of carpets, Foundations (all 2019), with SEHER SHAH’s photogravures of Gandharan sculptures from the series Argument from Silence (2019).
Sculptor YEESOOKYUNG’s Translated Vase_2019 TVCW 4 and TVCW 3 (both 2019) shared a corner of Massimo De Carlo’s booth (Milan / London / Hong Kong) with MATTHEW MONAHAN’s large monochromatic drawing Body Electric (Hate Crystal) (2012), and YAN PEI-MING’s small canvas Le Dernier Repas Bleu (The Last Supper in Blue) (2019).
Tomio Koyama Gallery (Tokyo) included KISHIO SUGA’s wire-mesh wall piece Gathered Space (2007), and wood-and-steel sculpture Supported Space and Enclosed Intervals (1986-87) in a select survey of the artist’s works.
Fergus McCaffrey (New York / Tokyo) showed Gutai artist TOSHIO YOSHIDA’s abstract, mixed-media paintings Sakuhin (61-10) (1961), a mix of pulp paper and pigment on board, and Untitled (56-2) (1956), consisting of papier-mâché and pigment on a charred wooden panel.
Dvir Gallery (Tel Aviv / Brussels) presented SIMON FUJIWARA’s fantastical architectural model It’s a Small World (Temple) and his bronze wall installation Gilded Tears (both 2019); MIRCEA CANTOR’s lightbox photo of words written in foggy glass, Unpredictable Future (2015); and NAAMA TSABAR’s sculptural instrument Work on Felt (Variation 10) Black (2016).
