Over the years, Wang Xiaoqu’s (b. 1987) canvases have increasingly reflected her inner world. Dwelling in Mirrors illustrates this transition with over a dozen oil paintings created during the past year. These artworks reflect her immediate experiences and her recalibration of her relationship between herself and others. The exhibition title, inspired by American poet Emily Dickinson’s quote “I dwell in Possibility” is meant to suggest her shift in social relations and the process of self-becoming. Light Rain to Cloudy (2026) depicts a life lived in transience. As the female protagonist lazily irons a black shirt she is about to wear—her relaxed stance and stoic expression bordering on lethargy—a cup of tea barely-touched tea sits on the cupboard, a laptop is opened but turned off, a desk chair is pushed to the side to make way for the ironing board, and two ships sail by in the expanse. Everything is suspended in a state of ‘in-between’, neither realised nor untouched. More than ever, Wang creates emotional currents with the backgrounds of her works. 

When: Until August 22, 2026
Where: 10 Sik On St, Wan Chai

Shigeo Otake: Agoraphilia, White Cube

Japanese artist Shigeo Otake (b. 1955) combines his deep interest in parasites and Cordyceps with a recent fascination with agoras. ‘Agora’ is the Greek word for ‘gathering place’, which is a public site used for assemblies and markets in ancient Greek city-states. Otake views the exchange of commodities in these spaces as the externalisation of belief structures and value registers. For this exhibition, his first solo exhibition in Hong Kong, Otake presents new works in egg tempera, painting on wooden board, and one fresco transfer. Dating back to the Egyptians, the first medium is made by mixing pigment with water and egg yolk, creating a translucent finish. Throughout Agrophillia, Otake fuses rich art historical techniques and references into his paintings—from Western art-historical techniques to Balthus’s The Street (1933) in Myco-Market Day (2026), to secular paintings of the Japanese parade, Hyakki Yagyō, in Parade of One Hundred Fungi (2026). 

When: Until August 29, 2026
Where: 50 Connaught Road, Central

City of Lights, Blue Lotus Gallery

Hong Kong streets once bathed in a neon glow. During the height of the 1980s, more than 100,000 neon signs lit up the city. Now, less than 400 remain. Photographer Keith Macgregor (b. 1946) took hundreds of photos of these iconic neon signs during the 1990s- 2000s. It was part of a conscious effort to document as many signs as possible when he recognised that they were disappearing in 1998. Macgregor published his first book, Neon City Hong Kong, in 2002; this new volume, titled City of Lights, aims to tell the stories of those keeping the craft alive, while also showcasing this bygone era. “Like so many others, I took neon for granted when I was younger, viewing it as urban wallpaper rather than investigating the creativity, skill, engineering, and imagination needed to create these dynamic, superb works of art,” Macgregor said.

When: Until October 4, 2026
Where: 28 Pound Lane, Tai Ping Shan, Sheung Wan

Creative Cross-Pollination: The Future of Crafts, Crafts on Peel

 

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Crafts on Peel’s latest exhibition furthers its mission to revive, reinterpret and perpetuate traditional craftsmanship. The non-profit charity organisation is refreshing the dialogue on craft by inviting traditional masters and contemporary designers to collaborate—here, seemingly disparate ideas and techniques converge and create something entirely new. In this exhibition, works on display include the reimagined scholar’s rock and a kinetic lantern installation. Besides the five original works, two new additions are making their debut in Hong Kong. 

When: Until October 10, 2027
Where: 11 Peel Street, Central

Design Ah! Experience the Wonder of Everyday Design, M+ Museum

M+ stages an interactive and family-friendly exhibition that explores the role of design in everyday life. The exhibition features 21 stations organised around 10 daily actions, some of which reference Hong Kong’s visual environment and culinary traditions, such as In the Mood for Being Food (2026), an installation of a giant siu mai and a pair of chopsticks. The exhibition invites visitors to interact with ordinary objects in unexpected ways by activating all the senses, and reminds visitors to consider how the designers of these objects—items we’ve taken for granted—conceived them to improve our lives. 

When: Until January 10, 2027
Where: Main Hall Gallery, Gp