Our editors select the shows not to miss this month, from the Biennale of Sydney to a landmark Seoul group exhibition that celebrates queer visibility.
Yu Ji, Origin of the Tiger (6 March – 11 April 2026) at P·P·O·W, New York
When I think of chairs in art history, I think of those created by Van Gogh, Joseph Kosuth, Joseph Beuys—vessels burdened with myth, nostalgia and the philosophical definition of what a chair is. Chinese artist Yu Ji’s chairs stand at the opposite end of that lineage (of what has long been an unquestioned male-dominated canon). They become temporary sites of pause—places to rest briefly before departure. Play Know Attention (2026) comprises four identical chairs, each fitted with two textured, ghostly, hollow concrete forms cast from human knees, which perch precariously on collapsible wooden structures. The works reflect the Shanghai-born artist’s recent movements—from a self-organised residency in Phnom Penh, Cambodia to her relocation to New York—arriving alongside her first US solo exhibition. In contrast to these fragile constructions, new works from her ongoing Flesh in Stone series (2012 – present) assert a different kind of endurance. Cast in cement and plaster, the fragmented torsos and limbs resemble archaeological remnants—twisted, yet resisting the steel bars that attempt to pin them in space. — Shanyu Zhong