The Garden of Six Seasons, which lends its name to this “precursor” to the forthcoming Kathmandu Triennale, was designed by the architect Kishore Narshingh in 1920 for Kaiser Sumsher Rana’s palatial home in the capital of Nepal. The group show, held across two sites in Hong Kong, takes the entangled infrastructures and cultures that produced the garden—Edwardian neoclassical design transplanted to Nepal—for its organizing concept. In doing so, it establishes a space in which varied vantage points on the world can be expressed and different cosmological systems explored; by packing 150 works together in narrow spaces and under low ceilings, the curation forces the visitor to read diverse works together, and to make unexpected associations between them. Individually and collectively, they relate to local mechanisms of imperialism, feudalism, and modernism, but also indigeneity as a means of resistance, resilience, and remedy. Para Site’s exhibition space in North Point speaks to how the eclectic design of the Garden of Six Seasons—in which Chinese elements coexist with Roman columns—undoes the positivist and empiricist connotations of neoclassical architecture. You enter via an outer corridor in which, according to the accompanying text, “artworks connect our bodies, their insides, the networked maps of our social worlds, …