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ArtAsiaPacific’s November/December issue considers how the future doesn’t arrive all at once: it seeps in through interfaces, algorithms, and the quiet decisions of artists who treat technology as an extension of consciousness.
Our cover Feature spotlights Tishan Hsu, who has spent decades asking what happens to the body when it becomes continuous with the screen. AAP managing editor Michele Chan considers the New York-based artist’s surfaces, which mimic skin, wounds, circuitry, and medical imaging, mapping the psychological impact of constant digital mediation.
From there we turn to Tokyo, where AAP caught up with Mariko Mori ahead of her retrospective at the Mori Art Museum. From her otaku-inspired performative photography series to her brainwave-response installations and light sculptures, Mori has spent her career treating consciousness as a force that can be measured, shared, and expanded.
Meanwhile, Chinese painter Mao Yan resists the accelerated tempos of the present in favor of something more enduring and intimate. AAP associate editor Louis Lu interviewed Mao to discuss his rejection of overt cultural gestures that many of his peers embraced in the 1990s, and his treatment of art as an inward process.
In Profiles, AAP assistant editor Annette Meier spoke with Ocean Vuong to discuss his photographic practice, which the Vietnamese American poet and novelist describes as a “communal autobiography.” In Shanghai, Cherry Xu, founder of CHERUBY, delves into her nonprofit’s hybrid residency and exhibition program. For Inside Burger Collection, Mebrak Tareke conversed with Felipe Baeza about his commitment to creating “queer and migratory futures.” Elsewhere, the works of Rachel Youn, Payne Zhu, and Timur Si-Qin, featured in our Up Close section, probe systems mechanical, social, and ecological systems as living materials.
For Where I Work, AAP visited Shi Guowei in his Beijing studio as he prepared for his show at Fotografiska Shenzhen. In Essays, Donya Abdulhadi of the Diriyah Biennale Foundation in Riyadh examines how the contemporary art world is undergoing a transformation that challenges assumptions about how art should be exhibited, understood, and connected to society. In Dispatch, Razmig Bedirian traces the trajectory of Abu Dhabi and the master plan for Saadiyat Island, which includes the forthcoming Guggenheim Abu Dhabi. Questions of change and adaptation continue in The Point, where gallerist Pascal de Sarthe reflects on why this cyclical downturn feels different from those that came before.
Finally, in One on One, Kimsooja recalls how a first encounter with John Cage’s work in 1985 informed her understanding of what art could be. Across these pages, artists and guest contributors remind us that the future is not only something to predict, but something we can already perceive if we are open to what is taking shape.
A digital edition of the full ArtAsiaPacific 151 issue (November/December 2026) is now available for purchase on Zinio, Google Play, iTunes, and Magzter.
