As Hong Kong’s art month draws to a close, Art Central returns to the Central Harbourfront for its 11th edition. Set against the skyline of Victoria Harbour, the fair has become a key stop during Hong Kong Art Week, known for its discovery-led focus which champions artists from across Asia, alongside many other international voices.
Curated this year by Enoch Cheng and Zoie Yung, the programme reflects the fair’s strong regional outlook. Around 20% of the participating artists are based in Hong Kong, while roughly 75% come from across the wider Asia-Pacific region, underscoring Art Central’s role as a platform for the breadth and diversity of contemporary practice in the region. As Cheng explains, the fair aims to champion “emerging galleries and artists” while providing “a point of entry for those establishing roots in Asia’s art ecosystem.”
The curators have also placed a strong emphasis on the many questions artists are grappling with today. “This year’s creative programme reflects the criticality and nuance of the questions artists are asking in this present moment,” says Yung, pointing to themes such as how technology reshapes the body, how communication unfolds across cultural misalignment, and how shifting notions of time recalibrate our social instincts.
Open from March 25th to the 29th, the 2026 edition also introduces Central Stage, a new platform highlighting artists who have recently gained institutional recognition through major museum exhibitions, biennials, and other prominent curatorial initiatives.
Read for our selection of what not to miss at the fair.
Kaitlyn Hau – Recursive Feedback Ritual 0.01 (2026), courtesy of the artist
With Recursive Feedback Ritual 0.01 (2026), Kaitlyn Hau presents the Art Central 2026 Hong Kong Commission: a large-scale installation and motion-capture performance that unfolds as a real-time computational sculpture. It looks beautiful, but you may be asking – what is recursion? Coming from computer science, it’s when a function regulates itself by breaking down a problem into smaller, self-referenced problems. Hau draws from her experience as an artistic director and visual engineer for virtual-singer performances, along with years of navigating bipolar and obsessive-compulsive symptoms, to create this affective system of digital personas.
Silvester Mok, The Digital Fossiliser, 2026, courtesy of the artist and Touch Gallery
Responding to Hong Kong’s first dinosaur fossil discovery in 2024, Silvester Mok presents a speculative laboratory where everyday objects undergo “accelerated fossilisation.” The re-imagined process of fossilisation? 3D scanning and printing: Mok transforms ordinary items into ceramic and resin artefacts. The installation is presented as part of the Yi Tai Sculpture and Installation Projects, a platform within the fair that invites artists to produce works extending beyond the traditional limits of the gallery booth.
Alexis Wong, when meandering through the sunken echoes, when drifting through the fleeing hollow (detail), 2025, courtesy of the artist and Yiwei Gallery_2
With her immersive installations, Hong Kong–based artist Alexis Wong constructs charged spatial environments from dark, mountain-like forms, translucent shells, and suspended vessel-like structures. In rearranging the space with her structures, viewers must recalibrate their movements and intuitively react to the installation.
The work draws on the Eastern concept of shi (勢), the directional force that emerges from a particular arrangement. For Wong, shi is an intuitive method of orientation, offering a way to sense direction and navigate increasingly accelerated and unstable conditions. Her work is presented as part of the Yi Tai Sculpture and Installation Projects section of the fair.
Orange Terry, Found Faith (preparatory study), 2026, courtesy of the artist and Square Street Gallery
Working with everyday and repurposed materials, Hong Kong–based artist OrangeTerry explores the layers of memory and human effort carried within everyday objects. For Art Central, he presents a large-scale sculpture built from a church pew gifted by a senior artist, now reconfigured to reflect on faith in uncertain times. It will be shown as part of the Yi Tai Sculpture and Installation Projects, a section of the fair dedicated to installations that extend beyond the traditional gallery booth.
Chaklam Ng, Voice of Silhouette, 2025. Installation, dimensions variable. Courtesy of the artist
Performance Art: Endless Night and Midnight Sun,
With a dedicated programme curated by Zoie Yung, Endless Night and Midnight Sun reflects on the distorted rhythms of time in the AI era. Borrowing from the extreme cycles of light and darkness experienced in polar regions, the programme uses this phenomenon as a metaphor for our increasingly compressed sense of duration.
One highlight amongst many is Chaklam Ng, who presents Shadow Work (2026), a sound performance where physical gestures activate objects and electronic modulation. Here, shadow, light, and music meet to form a sensorial journey through rhythmic, percussive interactions.