Art Basel Hong Kong

Referencing Baroque and Renaissance painting, literature, daily life, and her own body, Grace Carney (b. 1992) eschews easy categorization in paintings that hover between abstraction and figurative forms. Reflecting an underlying interest in liminal spaces, her canvases embrace the ambiguity and messiness of paint itself. Within the manifold layers of her densely worked surfaces, Carney confronts the complexity of contemporary existence and the pursuit of self-determination and transformation. Through complex layers of paint, repeatedly obscured and reworked, Rubberband, 2026, stages a process of transformation, suggesting both self-containment and release as the artist lays her thoughts bare upon the work’s surface. Carney received her BFA from the Rhode Island School of Design, Providence, RI in 2014, and her MFA in Painting from the New York Studio School, New York, NY in 2022. Carney was awarded the Jane C. Carrol Scholarship in 2020 and the Hohenberg Travel Grant in 2022.  Recent solo exhibitions include Wrestle, at Beacon Gallery, Munich, Germany in 2022, and girlgirlgirl at P·P·O·W, New York, NY in 2024. Recent group exhibitions include I’m Not Your Mother, P·P·O·W; Three Women: Grace Carney, Jeane Cohen, Abigail Dudley, Steven Harvey Fine Arts Projects, New York, NY; Considering Female Abstractions, Green Family Art Foundation, Dallas, TX; and Table Manners, Barbati Gallery, Venice, Italy. Her work is in the public collections of Pond Society, Shanghai, China; Aïshti Foundation, Jal El Dib, Lebanon; Fondazione Sandretto Re Rebaudengo, Turin, Italy; and the Scharpff-Striebich Collection, Berlin, Germany; among others. Carney presented her first solo exhibition in Asia, Subrisio Saltat, at Kiang Malingue, Hong Kong in 2025.  

In his luminous and emotionally complex paintings, Kyle Dunn (b. 1990) depicts scenes of isolation and romantic connection in a modern world heightened by a pervasive eroticism and theatrical lighting. In En Suite, 2026, Dunn reflects upon quiet moments of solitude that transpire amidst the chaos of daily life. Alluding to the delicate balance between the subject’s interior and exterior worlds, the domestic scene becomes a maze-like dream space of shifting moods, reflections, and shadows. Dunn received his BFA in Interdisciplinary Sculpture from the Maryland Institute College of Art, Baltimore, MD. His work has been exhibited at P·P·O·W, New York, NY; Corridor Foundation, Shenzen, China; Institute of Contemporary Art, Miami, FL; Marlborough Gallery, London, UK; Stephen Friedman Gallery, New York, NY; Galerie Judin, Berlin, Germany; and Vielmetter, Los Angeles, CA; among others. His work is in the collections of the Sunpride Foundation, Hong Kong; X Museum, Beijing, China; Wadsworth Atheneum Museum of Art, Hartford, CT; Dallas Museum of Art, Dallas, TX; and Institute of Contemporary Art, Miami, FL. Dunn presented his first institutional solo exhibition, Kyle Dunn / MATRIX 194, at the Wadsworth Atheneum Museum of Art, Hartford, CT, in 2024. In his curatorial statement for the exhibition, Jared Quinton writes, “Dunn’s work feels at once familiar and disquieting, timeless and unavoidably of the moment.” Dunn is featured in Phaidon’s recently released publication, Vitamin P4: New Perspectives in Painting, an extensive survey of contemporary painters around the world.  

Yu Ji (b. 1985) cultivates a diverse practice that spans sculpture, installation, performance and video. Employing basic materials such as wood, concrete, metal, and plaster along with organic matter and everyday objects, Yu’s sculptures and installations investigate the potency of the fragment, atavistic memory, and the concept of place, both bodily and topographically. Through her staged interventions, the artist creates instances where the natural and man-made form an inseparable whole. Converging weightlessness, ornamentalism, and reverence with constraint, brokenness, and iconoclasm, Flesh in Stone No.11, 2025, portrays a delicate, fragmented female form to tell a story of human vulnerability and resiliency, simultaneously evoking a world destroyed and a new world yet to come. Yu Ji obtained her MFA at the Fine Art College of Shanghai University in 2011. In 2008, she co-founded “am art space,” an artist-led initiative promoting experimentation and exchanges between artists, curators, and the public. Yu has held solo exhibitions at Centro Pecci, Prato, Italy; Institute of Contemporary Art, NYU, Shanghai, China; Sadie Coles HQ, London, UK; West Bund Museum, Shanghai, China; C-Space, Beijing, China; Mind Set Art Center, Taipei, Taiwan; and Orange County Museum of Art, Costa Mesa, CA; among others. Her work has been featured in group exhibitions at Kiang Malingue, Hong Kong; Empty Gallery, Hong Kong; Rockbund Art Museum, Shanghai, China; Yuz Museum, Shanghai, China; Palais de Tokyo, Paris, France; and New Museum, New York, NY; among others. Her work belongs to the public collections of De Ying Foundation, Shanghai, China; Longlati Foundation, Shanghai, China; Louisiana Museum of Modern Art, Humlebaek, Denmark; and M+, Hong Kong. Yu participated in the 11th Shanghai Biennale, Shanghai, China; La 58th Biennale di Venezia, Venice, Italy; the 14th Taipei Biennal, Taipei, China; and is currently featured in the 3rd edition of the Diriyah Contemporary Art Biennale, Saudi Arabia. In Fall 2025, Yu was featured in the group exhibition to ignite our skin at SculptureCenter, Long Island City, NY, curated by Jovanna Venegas. Her first solo exhibition with P·P·O·W, Origin of the Tiger, is currently on view through April 11, 2026. 

Erin M. Riley (b. 1985) crafts meticulous, large-scale tapestries depicting intimate, erotic, and psychologically raw imagery that reflects upon relationships, memories, fantasies, and trauma. Collaging personal photographs, images sourced from the internet, newspaper clippings, and other ephemera to create her compositions, the Brooklyn-based weaver exposes the range of women’s lived experiences and how trauma weighs on the search for self-identity. In her review of Riley’s 2025 solo exhibition with P·P·O·W, Life Looks Like a House for a Few Hours, Annabel Keenan wrote in Frieze Magazine, “There’s an element of triumph in Riley’s work: even if her images reveal moments when she had no control over her life, she has persevered and regained agency through every stitch.” In $100, 2026, the artist depicts bundles of paper currency at monumental scales, functioning as surrogates for restricted bodies held tightly by twisting rubber bands. Riley explores, captures, and recontextualizes specific objects culled from memory as a means of personal healing. Through her detailed renderings, the act of weaving becomes a ritual of remembrance and resilience. Riley received her BFA from the Massachusetts College of Art and Design, Boston, MA and an MFA from the Tyler School of Art, Philadelphia, PA. Her work has been included in solo and group exhibitions at P·P·O·W, New York, NY; Brooklyn Museum, Brooklyn, NY; kaufmann repetto, New York, NY and Milan, Italy; Aldrich Contemporary Art Museum, Ridgefield, CT; Hashimoto Contemporary, San Francisco, CA; Michael Kohn Gallery, Los Angeles, CA; Gana Art Gallery, Seoul, South Korea; Museion, Bolzano, Italy; Henie Onstad Kunstsenter, Høvikodden, Norway; and Timothy Taylor, London, UK; among others. Riley's works belong to the public collections of the Brooklyn Museum, New York, NY and the Frances Young Tang Teaching Museum of Art at Skidmore College, Saratoga Springs, NY; among others. She received a United States Artists Fellowship Grant in 2021, an American Academy of Arts & Letters Art Purchase Prize in 2021, and has completed residencies at MacDowell Colony, Peterborough, NH, and the Museum of Art and Design, New York, NY. In 2022, Riley’s work was featured in the 16th Lyon Biennale of Contemporary Art, manifesto of fragility. Recent solo exhibitions include The Invisible Third, UTA Artist Space, Los Angeles, CA; watering false flowers, cadet capela, Paris, France; and Look Back at It, mother's tankstation, London, UK. Riley’s work is currently on view in the group exhibition Wool. Silk. Resistance. at Museum of Applied Art, Frankfurt, Germany.  

A documenter of the constellation of social life, Martin Wong (1946-1999) developed innovative approaches to technique and form, creating rich surfaces and intricate details from astrology, architectural space, modes of language, and a wide-ranging art historical and pop cultural canon, using the latter to make wry political commentary about contemporaneous politics with a focus on marginalized groups, as seen in Untitled (two women), 1992. In painting these dual figures embedded in a pair of reading glasses, Wong draws upon influences from China trade art, while simultaneously instilling a rogue eroticism, thereby presenting a visual cue of Chinese modernity in which women become subject and object, art and technology. Wong was born in Portland, OR and raised in San Francisco, CA. He studied ceramics at Humboldt State University, graduating in 1968. Wong was active in the performance art groups The Cockettes and Angels of Light before moving to New York in 1978. He exhibited for two decades at notable downtown New York galleries including EXIT ART, Semaphore, and P·P·O·W, among others, before his passing in San Francisco from an AIDS-related illness. His work is represented in the collections of The Metropolitan Museum of Art, New York, NY; M+, Hong Kong; Hartwig Art Foundation, Amsterdam, The Netherlands; Museum of Modern Art, New York, NY; Sunpride Foundation, Hong Kong; Bronx Museum of the Arts, New York, NY; Whitney Museum of American Art, New York, NY; Art Institute of Chicago, Chicago, IL; San Francisco Museum of Modern Art, San Francisco, CA; and Tate, London, UK; among others. Human Instamatic, a comprehensive retrospective, opened at the Bronx Museum of The Arts in November 2015, before traveling to the Wexner Center for the Arts in 2016 and the UC Berkeley Art Museum and Pacific Film Archive in 2017. The first extensive, touring exhibition of Wong’s work in Europe, Martin Wong: Malicious Mischief, curated by Krist Gruijthuijsen and Agustín Pérez-Rubio, debuted in 2022 at the Centro de Arte Dos de Mayo in Madrid. The exhibition traveled to the KW Institute for Contemporary Art, Berlin and the Camden Art Centre, London in 2023 before concluding at the Stedelijk Museum, Amsterdam in 2024. His work has most recently been included in prominent group presentations at the Whitney Museum of American Art, New York, NY; Sharjah Biennial 16, United Arab Emirates; and Museum of Modern Art, New York, NY. This April, the artist's sixth solo presentation with P·P·O·W, Martin Wong: Popeye, will be presented in conjunction with Martin Wong: Chinatown USA at Wrightwood 659, Chicago, IL, curated by Yasufumi Nakamori with Ashley Janke, the artist's first US solo museum exhibition since 2017.