Tokyo has always been well suited to the role of major hub for the Asian art world, yet has never established itself as such, and in the past decade has been eclipsed by Beijing, Hong Kong and Singapore.

Sometime in 2006, I went to observe our competitor’s New York evening sale of Post-War & Contemporary Art—as one sometimes does in the industry—to gauge the mood, to observe the “action.” 

She enters the space to sounds of beating Indonesian drums. Stepping on 20 slabs of butter positioned in the center of the floor, she starts to dance; 

In June, the Pakistan-born, New York-based artist Shahzia Sikander and Vishakha N. Desai, president emerita of Asia Society and Asian art scholar, met at Sikander’s studio in Midtown, New York, 

Like much of the Middle East, the United Arab Emirates is a hotbed of misconceptions. Commonly reduced to images of metastasized construction projects, 

There is a quiet satisfaction in viewing unfamiliar, accomplished and important work in handsome surroundings. “Light Before Dawn: Unofficial Chinese Art 1974–1985” certainly met these criteria. 

The Metropolitan Museum of Art’s decision to invite Pakistani painter Imran Qureshi to splatter blood-red acrylic paint across its elegant rooftop patio was a deliberately jarring aberration from tradition. 

Dinh Q. Lê’s four-story home-studio is a 25-minute drive from the center of Ho Chi Minh City. It also happens to be a five-minute walk from the home of his aunt—

During a recent argument about copyright law and its alleged negative impact on appropriation art in the United States, a friend asked me if I thought Chinese artists would feel similarly constrained by American copyright law.