Obscene wealth, and its spectacular power to compensate for racial loss, is the central protagonist we are invited to cheer on in Crazy Rich Asians.
Asian-American artists engaged deeply and creatively with Abstract Expressionism, counter to historical views of the movement as a New York monolith.
Fast’s seemingly derelict interpretation of Chinatown businesses has drawn ire from local groups.
As East Asian artists become increasingly visible, we chose to focus on their work at the Itinerant Performance Art Festival, where live art lent itself easily to political concerns.
For Emissaries, Ian Cheng designed three self-playing video games that take place on a fictitious volcanic island.
By warping the perceived roles and aesthetics of everyday objects, Jes Fan makes space for marginalized identities and conversations.
Crys Yin’s exhibition arrives at a time when Orientalism is still rife and often left unchecked within the art world.
Zhao Liang’s Behemoth is another instance of viewing China from a Western perspective — one that is quick to demean and infantilize Chinese citizens as incapable of governing themselves.
For the opening performance of her exhibition at St. Louis’s Millitzer Gallery, Catalina Ouyang had five young white male performers serving as human pedestals for her sculptures.
In the age of social media, most have at least dabbled in public self-documentation of their personal lives, though few dare to be as openly unflattering — and deeply revealing — as Kyung Me.