Now on View
Bad Objects,Reconsidered
Taking the concept of the “bad object” from Melanie Klein’s object relations theory as a point of departure, understanding “badness” not as an inherent property, but as something produced through perception, projection, and systems of judgment. Extending this framework into a contemporary context, the exhibition examines objects that fall outside dominant expectations of function, coherence, beauty, taste, and value. Malfunctioning technologies are not approached as failures, but as sites of friction through which cultural, psychological, and economic structures become visible.
Organized around themes of psychological projection and the uncanny, material rebellion and ruin, and the shifting systems through which value is assigned and contested, Bad Objects, Reconsidered invites viewers to question how objects come to be categorized, rejected, or embraced. Rather than asking what makes an object “good” or “bad,” the exhibition explores how these judgments are constructed, whose values they reflect, and how they might be reimagined.
Participating Artists
Adam Basanta
Carlos Blanco Artero
Diana Shpungin
Jimenez Lai
July 16,2026- Sep 11, 2026
Now on View
Drawing from Melanie Klein’s concept of the “bad object,” this exhibition considers “badness” not as an inherent quality, but as something shaped by perception, projection, and systems of judgment. Through objects that resist expectations of function, beauty, coherence, taste, and value, Bad Objects, Reconsidered explores how things come to be categorized, rejected, or revalued.
Rather than treating malfunction, ruin, or material instability as failure, the exhibition frames them as sites of friction where psychological, cultural, and economic structures become visible. In doing so, it invites viewers to reconsider who defines value, what is excluded, and how such judgments might be reimagined.
Bad Objects, Reconsidered
July 16,2026- Sep 11, 2026
Future Exhibitions
Within the limits of reality, photography reveals the infinite potential of the image.
Taiwanese photographic artist Yu-Hsu Chou approaches photography not simply as documentation, but as a means of transforming the visible world. Drawing from mythology, allegorical literature, and conceptual photography, he creates images that move between reality and imagination, familiarity and estrangement, and the visible and unseen.
The exhibition brings together four interconnected series. In The 7th Universe, fragments of the Earth are reframed as distant planets and cosmic terrains. Signals transforms electronic interference and digital glitches into an autonomous visual language. The Last Landscape imagines a post-human future in which traces of civilization are gradually reclaimed by nature. Dark Matter uses flowing light and unstable forms to explore the hidden forces and essential structures beneath the surface of the visible world. In dialogue with Thomas Ruff’s conceptual examination of photographic truth and Hiroshi Sugimoto’s meditations on time, Chou investigates perception, technology, existence, and planetary imagination.
As digital technologies and artificial intelligence increasingly blur the boundary between reality and fabrication, Finite Matter, Infinite Image presents photography as more than a representation of the world. It becomes a space where memory, uncertainty, and imagination converge and revealing infinite possibilities within finite reality.
Finite Matter, Infinite Image
Sep 17,2026- Sep 26, 2026
Past Exhibition
The Alchemy of Material: Reimagining the Everyday
Across the exhibition, transformation is not simply formal but conceptual. Objects shift from the functional to the symbolic, from the overlooked to the intimate. Personal histories intersect with broader cultural and social contexts, revealing how material can hold traces of time, labor, and lived experience.
This exhibition does not seek to elevate the everyday through spectacle, but to reframe perception. By slowing down the act of looking, it invites viewers to reconsider their relationship to the material world, recognizing that meaning is not imposed, but embedded, waiting to be seen.
June 4,2026 - June 18, 2026
BEFORE ARRIVAL ｜ Liminal States as a Global Condition
We inhabit a time defined less by resolution than by suspension. Contemporary subjectivity no longer unfolds toward fixed endpoints; it forms through interruption, displacement, and negotiation. Arrival is continually deferred.
Liminality is no longer a temporary threshold but an ongoing condition. Transition is not something we pass through. It is where we remain.
Bringing together painting, sculpture, installation, and mixed media, the exhibition reflects this state through material plurality and formal hybridity. Layers intersect, surfaces shift, and boundaries between mediums remain permeable. Material becomes a site of negotiation rather than stability.
Before arrival is not a prelude but the condition itself, where meaning remains open and the works resist closure.
Mar 12,2026 - May 29, 2026
LIVING CONSTELLATIONS
Sep 9, 2025 - Mar 5, 2026
Living Constellations brings together artists from across the world—Gerard Byrne, Evelyne Drouot, Hill Spriggins, Leigh Wen, Hai-Hsin Huang, and Sergio Nates that like stars forming a living constellation.
Each work shines with a distinct voice, yet together they create a shared vision that transcends borders, inviting viewers to become part of this vibrant constellation of global dialogue.