Cambodia’s capital Phnom Penh was, up until April 1975, known as the “Pearl of Asia.”

I am always mindful of how I identify and present myself in the art world—at the same time, I’m aware of how much certain laws, rules and expectations have shaped me.

The buzz surrounding Xu Bing’s new film Dragonfly Eyes (2017) is that it was created from cutting and compiling more than 10,000 hours of video surveillance footage and is possibly the first such “film” to combine the technologies of over 245 million global surveillance cameras and cloud computing. 

Protruding from a wall in Penelope Seidler’s Sydney penthouse is a three-dimensional painting by American minimalist Frank Stella. 

We dream of green and blue, but live in concrete and plastic. Pixel resolutions surpass our eyes’ capacities; screens become the world. 

In the sixth Asian Art Biennial, titled “Negotiating the Future” and organized at the National Taiwan Museum of Fine Arts in Taichung, Japanese artist group Chim Pom’s site-specific installation Street(2017) is an asphalt road that runs from the museum’s foyer through the main entrance to the street outside.

Moving between the sacred and secular, Saudi artist Ahmed Mater’s photographs, videos and installation works at the Brooklyn Museum situate the city of Mecca as both a historical pilgrimage site for Muslims and a locus of contemporary urban development.