This year’s Reunification Day in Vietnam, on April 30, marked 39 years since the capture of Saigon by North Vietnamese forces in 1975. This event led the following year to the merger of North and South Vietnam and to the city’s new name, Ho Chi Minh City. 

It would be easy to mislabel Ei Arakawa as a “Japanese artist.” His work See Weeds (2011), for example, features performers who take iconic Gutai paintings mounted on wheeled frames and move them around in unison with music, making them “dance.” 

The late Montien Boonma (1953–2000) is one of Thailand’s best-known artists. Working through sculpture and installation to portray the country’s shift from its previous agrarian economy and culture toward industrialization, his practice brought a fresh perspective to modern Thai art. 

Desire can be an impish, whimsical affair. The 19th Biennale of Sydney, curated by Juliana Engberg, artistic director of Melbourne’s Australian Centre for Contemporary Art, was themed “You Imagine What You Desire,” 

“How Green Was My Valley” was a poetic meditation on the backbreaking labor, bittersweet sacrifice and precious pleasures entailed in the Palestinian people’s love for their homeland and struggle for its liberation. 

Located on a sleepy, residential street in the al-Barsha neighborhood in Dubai, the tan-colored villa that houses the living and working spaces of Hesam Rahmanian and brothers Ramin and Rokni Haerizadeh—long-time friends since their childhood in Iran—appears unassuming. 

This past February, a man walked into the Pérez Art Museum Miami and, in an alleged act of protest, grabbed a sculptural work from a pedestal and smashed it to the ground.