AWNY Gallery Shows 15 ASIA WEEK NEW YORK 2026


• More information can be found on the website for all connected events and the latest news, asiaweekny.com


reimagines


Asia Week New York is now in its 17th year of celebrating Asian art and art from the Islamic worlds. A mix of 25 international and American dealers are showcasing works of art with a couple of members choosing to be present online only. Te main event runs from 19 to 27 March. As usual, Asia Week New York coincides with the spring sales at the auction houses, which are also hosting both physical and online sales. For ease, we are listing a selection of the in-gallery shows first, followed by the online activities.


rice paper and ink. Tis unique approach landscapes


Group of works by Yasuhara Kimei (1906-1980), Dai Ichi Arts


traditional and calligraphy,


conveying the ephemeral nature of art. Tis practice began several years ago, while viewing Ming-dynasty paintings in a friend’s collection, Wang considered the potential to combine


authentic historical


paintings and calligraphy with his own burned and painted works. An avid collector of older artwork, he began layering and attaching pieces from his collection to his own creations. Te resulting works occupy a hybrid state, part historical


Ancient Trees Imprinted in Water (2025) by Wang Tiande (b 1960 Shanghai), xuan paper, ink, burn marks, and rubbing, 75.5 x 88 cm, Alisan Fine Art


Chinese Art


FU XIAOTONG AND WANG TIANDE Alisan Fine Art,


12 March to 18 April


Tis year the gallery is presenting two solo shows. Fu Xiaotong: NUN-7. Te artist is known for her intricate paper pinhole creations of


‘traditional’ landscape compositions. Te title NUN has been used by Fu Xiaotong since 2020, with this exhibition marking the seventh iteration of the ongoing series. Nun (or Nu) refers to a chaotic life-force in ancient Egyptian mythology, known as the ‘Great Earth Mother’. Often considered the oldest god, Nun is the personification of the boundless primeval waters of chaos, representing the primordial abyss from which all life and existence emerged. In both her paper works and sculptures, Fu consistently engages with the void – the spaces created by the


armature of her


sculpture, the holes created with each pinprick. Te works show how she interprets the natural world from two contrasting perspectives:


from


afar, in her serene, distant mountain and waterscapes, and on a microcosmic level, in her investigation of plant cells and organic tissue. In some pieces, forms appear densely aggregated, resembling cellular


structures; in


others, the dispersion and branching of pinholes evoke patterns of growth, division, or migration found in living systems. Te second exhibition is Wang


Tiande: Of Streams and Clouds. Wang Tiande is an innovative avant-garde ink artist known for his creative use of incense sticks as a form of brush. Well-versed in traditional Chinese art and culture, Wang searches for new possibilities in the realm of ink art. His most groundbreaking practice replaces brushes with incense sticks, burning into layered


‘ready-made’ and part contemporary painting, presented as artefacts in pristine, black shadow-box frames. Two large-scale works anchor the exhibition; Clear and Distant Amid the Dense Forest is presented in a long, horizontal scroll. In contrast, Sheshan Resting Over Water is a tall vertical work – not unlike the paintings of the Song dynasty (960-1279).


• 120 East 65th Street, NY 10065, Alisan.com.hk. Asia Week reception 12 March, from 6-8pm. Event: In Conversation: Wang Tiande and Einor Cervone, On Materiality, 21 March 1-4 pm


CONTEMPLATION / MEDITATION


Concepts and Cultures Fu Qiumeng Fine Art, 5 March to 11 April


Tis exhibition explores how Eastern and Western artistic traditions have visualised inner stillness, reflection, and states of heightened awareness. Rooted


in classical Chinese


philosophy, the exhibition draws inspiration from Confucian, Daoist, and Buddhist thought, where inner cultivation and cosmic order are understood as deeply interconnected. From Confucian contemplation – emphasising moral clarity, calm reflection, and self-perfection – to Daoist and Zen practices of meditation that quiet the mind, dissolve conceptual thinking, and release ego attachment, Eastern


traditions have long approached art not as visual imitation, but as a conduit for spiritual resonance and embodied presence. In contrast and dialogue, the


• 65 East 80th Street, G/F, New York, NY 10075, fuqiumeng.com. Hours: 10-6pm, otherwise by appointment. Opening reception 19 March, 5-8pm


Japanese and Korean Art


Japanese Ceramics Dai Ichi Arts, 19 to 27 March


CERAMIC MODERNISMS New Perspectives on 20th Century


In the first of a series of exhibitions, this show for Asia Week presents key works that trace the development of modern Japanese ceramic expression during the early 20th century. Together, the three artists in this show unveil a complex narrative,


re-examining current


histories that largely locate the advent of ceramic modernisms and vessel-art expressions in the Kyoto avant-garde circles. Te show also adds Tokyo as a vital site of experimentation, where modern Japanese ceramics emerged through artists who strove to express a liberating


and contemporary vision


during an important period of rapid change. Te artists are Yasuhara Kimei (1906-


80), Kusube Yaichi (1897-1984), and Miyanohara Ken (1898-1977), all of whom championed new expressions of art, design, and beauty through vessels. Yasuhara Kimei, who was active in Tokyo and known as Yasuhara Yoshiaki, declared in 1930 at the founding of the Totokai Ceramic Association (Society of Eastern Potters) that ceramic works can transcend established forms and tradition. His work exemplifies the spirit of individualist mid-century modernism in Japanese vessel art. Miyanohara Ken was born in Kagoshima but was


also heavily


active in Tokyo. He was Yasuhara’s peer as a student of Itaya and Miyagawa.


Inspired deeply while


Fifth Dimension-QM4 (2020) by Hisao Hanafusa, hand signed and dated, aluminium paint on canvas, 24 x 20 in,61 x 50.8 cm, Fu Qiumeng


apprenticing under Itaya, he excelled in slip inlay, carving, and complex glazes, bridging continental ceramic traditions


with contemporary


Purple Magnolia ‘Awakening of Spring’ (2025) by Daisuke Nakano (b 1974), washi paper, silver leaf, ink, and mineral-based pigments, 43.3 x 17.9 inches, Ippodo Gallery


exhibition also considers Western artists who, whether intuitively or through direct engagement with Eastern philosophy, pursued similar contemplative states. Featuring works that range from classical and modern East Asian art to modern and contemporary American painting, the show presents images that are sometimes representational, often abstract, and always oriented toward inducing clarity, calmness, or mental sharpness.


abstraction. His work, influenced by European art, particularly French Art Nouveau, earned him major recognition at the Nitten exhibitions and the Japan Art Academy Award. Kusube Yaichi was born into a family known for


Kyoto pottery


export wares. During his life, he developed an avant-garde ceramic practice in the 1920s and 1940s. Early international exposure led him to exhibit abroad, winning awards at the 1924 and 1936 Paris World’s Fairs. His mastery spans white porcelain to overglaze painting, reflecting both technical command and a forward-looking vision. His modern forms, as appreciated in flower


vases, incense


• 18 East 64th Street,1/F, New York, NY 10065, daiichiarts.com. Opening reception 19 March, 4-7pm


CAPTIVATING Cats in Japanese Prints


and Paintings Egenolf Gallery, 22 and 23 March


Japanese prints and paintings with cats have always held a special attraction, much like the alluring yet unknowable felines themselves. In Japan, cats historically served as mousers, companions, muss and even monsters. Tis group of works includes


19th-century classical


• Exhibiting at The Mark Hotel, 25 East 77th St, New York, NY 10075, egenolfgallery.com. Hours: 11-6 or by appointment


ukiyo-e prints and drawings of beauties with cats, as well as ink paintings and prints from the early 20th century that feature the felines as the primary subjects. Also featured is a curated selection of fine 18th-to 20th-century Japanese prints and drawings in the gallery’s only New York appearance for the year.


water droppers, and other classical ceramics from the later years are particularly coveted.


containers,


Ouch! That hurts! by Utagawa Kuniyoshi (1798-1861), 1852, from the series Celebrated Treasures of Mountains and Seas, colour woodblock print, 35.4 x 24 cm, Egenolf Gallery


BANQUET OF LIFE Nihonga Paintings by


Daisuke Nakano Ippodo Gallery, 19 March to 18 April


Tis is the Japanese painter’s long- awaited third New York solo exhibition, coinciding with Asia Week New York 2026. Te 10 new works on view mark the pivotal transition of the seasons. Daisuke Nakano (b 1974) celebrates the natural world through glorious depictions of flora and fauna: blanketed in shimmering snow, at the turning point of the springtime thaw, and in full blooming colours. Nakano stands out as a luminary force among the few remaining Nihonga traditionalists today, evoking classical ideas and pushing them to their limits of colour, composition, and craftsmanship. His scenes are overflowing with flourishes of complementary colours and a dynamic interplay of lively birds, insects, and flowers. Native to Kyoto and a master of


Nihonga painting traditions, Daisuke Nakano draws upon historical Japanese image-making to paint bright scenes of nature in a state of undisturbed purity. Each


Continued on page 16


Beauty Sharing a Pipe by Keisai Eisen (1790-1848), colour woodblock print, 39.4 x 26.7 cm, Bunsei era, circa 1823, from the series Customs of the Floating World: A Contest of Beautiful Women, signed: Keisai Eisen ga, publisher: Jakurindo (Wakasaya Yoichi), censorship seal: kiwame (approved), Sebastian Izzard Asian Art


ASIAN ART | MARCH 2026


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