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Pillars of Hong Kong’s art scene, a mother and son team reveal the fine art of collecting and their ‘Warren Buffett’-style role. 

We are pleased to share that Candida Höfer. Photographs is now on view at the Hessisches Landesmuseum Darmstadt in Germany. Curated in close collaboration with the artist, the show spans five decades of Höfer’s work and highlights her enduring impact on contemporary photography. Featuring her iconic large-scale images alongside more recent series exploring unusual lighting, the exhibition underscores Höfer’s distinct visual language - quiet, precise, and deeply attentive to space. Her photographs, often devoid of people yet full of human presence, reflect on how architecture shapes experience and memory.

A Rose Is, on view at The FLAG Art Foundation through 21 June 2025, is a group exhibition exploring the rose’s enduring – and often contradictory – symbolism in art history and visual culture. Revered for its beauty yet steeped in connotations of desire, danger, and decay, the rose has served as muse and metaphor for centuries. This exhibition gathers a diverse range of contemporary artists to examine the rose as a shifting emblem – of seduction and sentimentality, of resistance and ritual.

Among the works on view is New Freezer – Rich the Kid ft. Kendrick Lamar (2017) by Awol Erizku. Adapted from the stylised signage found in Los Angeles nail salons, the painting dissects a familiar vernacular image – the manicured hand offering or receiving a rose – and reimagines it through the lens of race, visibility, and authorship. “What drew me to the ubiquitous nail salon sign at first was the fact that I never had seen a version with a black hand, and second, that it’s weird that this motif doesn’t communicate whether the hand is receiving the rose or giving it... The moment the hand is black, considering the racial tension and political climate of our country, it took on a whole new life and meaning, which was very exciting to me as the basis for a new body of work,” explained Erizku.
By isolating and recontextualising this graphic gesture, Erizku disrupts the Warholian language of pop iconography. The substitution of a Black hand within a typically generic commercial image recalibrates its meaning entirely. In Erizku’s hands, the motif becomes charged – quietly political, insistently present. It speaks to absence as much as presence, interrogating what is seen, what is assumed, and what is deliberately excluded.

Gavin Turk’s Ajar (Cream and Grey) (2024) will be featured in the 9th edition of the Amsterdam Sculpture Biennale, ARTZUID 2025, running from 21 May to 21 September 2025. The biennale presents a curated outdoor exhibition of 60 sculptures by 60 internationally acclaimed artists and emerging Dutch talents, displayed along the tree-lined avenues of Apollolaan and Minervalaan.

Turk’s Ajar (Cream and Grey) is a life-size sculptural illusion: a disembodied door frame cast in bronze and painted to mimic wood and wear. At first glance, it appears to be an ordinary domestic doorway, slightly ajar. This deceptive simplicity plays with the viewer’s perception, echoing themes of absence and transition. The piece continues Turk’s long-standing exploration of authorship, identity, and the surreal in everyday forms, evoking the dreamlike visual language of Surrealism while grounding it in urban materiality. By isolating an architectural fragment and placing it in a public space, Turk encourages a shift in perspective – what is usually passed through becomes something to contemplate. Ajar is both an object and an idea: a portal, a question, a ghost of function.

We are pleased to announce that Gavin Turk's Pile is now on display at Museum Voorlinden as part of The Life of Things exhibition, running until 2 November 2025. Pile is a sculpture of black rubbish bags that explores rubbish as a narrative device - telling stories of use, production, and disposal, which in turn reveal insights into who we are and how we live.

Miquel Barceló’s Autofiction, on view at Fondation Jan Michalski, Montricher, from 29 of March - 28 September, 2025, explores the book not just as an object but as a metaphor for knowledge, transformation, and life itself. Spanning works from 1970 to 2020, the exhibition traces his ongoing engagement with books - merged with bodies, nature, and space - as visual and tactile subjects. Through paintings, sculptures, drawings, and notebooks, Barceló reveals how reading, writing, and making are deeply entwined in his artistic practice.

Ena Swansea's backlit waves of Los Angeles is included in 'HOW'S MY PAINTING?', a new exhibition now open at Deichtorhallen, Hamburg, presenting 200 works by over 70 artists from the Falckenberg Collection. ⁠
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Known for her atmospheric, layered works, Swansea’s approach aligns with the exhibition’s exploration of painting in its many forms. Her work in the show sits alongside that of influential figures such as Nicole Eisenman, Mike Kelley, Raymond Pettibon, Michel Majerus, Joyce Pensato, Philip Guston, John Baldessari and Ouattara Watts. The exhibition acknowledges her distinctive contribution to the medium and reinforces Harald Falckenberg’s legacy of recognizing visionary artists early in their careers.⁠

We are delighted to announce that José Parlá ’s La Habana Sunset (2022), from his series Ciclos: Blooms of Mold, has entered the esteemed Brooklyn Museum’s permanent collection as a gift in celebration of the institution’s 200th anniversary.

Currently on view in Brooklyn Abstractions: Four Artists, Four Walls, La Habana Sunset is presented alongside works by Maya Hayuk, Kennedy Yanko, and the late Leon Polk Smith. These four artists, each with profound connections to Brooklyn, reimagine the iconic Beaux-Arts Court through their distinct and visually immersive installations.

Ben Brown Fine Arts is pleased to announce José Parlá: Homecoming, now open at Pérez Art Museum Miami (PAMM) – marking José Parlá’s first solo exhibition in his hometown. This immersive, two-part exhibition unveils Parlá's experimental process, offering viewers the unique opportunity to witness the creation of a site-specific mural within the gallery space. The second part transforms the space into a dynamic reconstruction of Parlá’s own studio, filled with personal mementoes, Cuban cultural references, and the sounds of his favourite music, providing a window into the artist’s creative world.

Featuring a new series of works, Homecoming showcases Parlá’s signature calligraphic abstractions – vibrant, gestural, and deeply expressive. This process-oriented exhibition celebrates an artist whose practice meaningfully engages with Cuban heritage and the broader diasporic experience, positioning Parlá as a vital voice in contemporary expressionism.

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Duality (Reflection) (2022) by Hank Willis Thomas is currently on view at the Vancouver Art Gallery’s Offsite: Hank Willis Thomas, which has recently been extended until June 2025.

We are proud to have loaned this striking stainless-steel sculpture, which isolates a single charged gesture—an extended arm forming a sign that shifts between victory, peace, and derision. Part of Thomas’s Punctum series, inspired by Roland Barthes, Duality (Reflection) explores the fluidity of meaning through recontextualized imagery.

Presented alongside other works from the series, it invites viewers to reconsider how visual narratives shape perceptions.

Tate Modern's Electric Dreams exhibition celebrates the trailblazing artists who transformed art through science, technology, and new media from the mid-20th century to the digital age. Heinz Mack’s inclusion underscores his pivotal role as a pioneer in optical and kinetic art. His mesmerizing, light-reflective works, often employing industrial materials and mathematical precision, exemplify the era’s radical fusion of art and technology.