Welcome to the 15th-anniversary issue of ArtAsiaPacific! As editor of the magazine from 1997 to 2001, with hindsight I see I was witness to a crucial time of transition for both the magazine and the Asian contemporary art field.

The Australian government will introduce resale royalty rights, or droit de suite, literally “right to follow,” next year that provide visual artists or their estate up to five percent of the sale price each time their works are resold.

On September 9, the Supreme Court of India announced they had dismissed all charges brought against internationally renowned artist MF Husain.

As Israel celebrates its 60th anniversary with year-long, nation-wide commemorations, on September 24, the first edition of the art festival Art TLV was launched in Tel Aviv, Israel’s nonstop-city and major artistic hub.

The renowned Chinese artist Wu Guanzhong has donated 113 artworks with an estimated value of SGD 66 million (USD 45 million) to the Singapore Art Museum.

Did an American art critic mistake China’s radical-chic avant-garde for friendly authoritarianism? Or inadvertently get it right?

When I started working in the arts, most museums were doing art historical exhibitions, in which the art works were installed according to the year of production.

1993 saw the fortuitous coincidence of several developments in contemporary Asian art. 

Rhii’s work draws from Bahc’s choice of materials and in his employment of a highly personal, even private stance vis-à-vis the world.

Responding to the explosive birth of the 1985 New Wave movement, art criticism in China didn’t follow the Western model of evolving critical paradigms based on tracing a continuous path of historical development.

Residents of the San Francisco Bay Area had the opportunity to view two remarkable Chinese contemporary art exhibitions this September at the Berkeley Art Museum and Pacific Film Archive and the San Francisco Museum of Modern Art.

In “Into the Atomic Sunshine,” curator Shinya Watanabe presented the work of 12 artists—eight Japanese and four international—who respond to war, peace, national sovereignty and collective humanity, issues addressed by Article 9 of the Japanese constitution.

Southeast Asian identity is the subject of “Coffee, Cigarettes and Pad Thai,” for which Singaporean curator Eugene Tan brought together 17 artists from Thailand, the Philippines, Vietnam, Malaysia, Indonesia and Singapore.

The first solo for Mithu Sen in London “I Dig, I Look Down” resembled an archeological site.

In the fashionable satellite city of Gurgaon, just outside New Delhi, Bharti Kher navigates between the two adjacent three-story residences she converted into studios.