Lehmann Maupin returns to the 2026 edition of Art Basel Hong Kong with a focused presentation of new and historic works by artists from Asia and the diaspora, many of whom have concurrent or forthcoming institutional exhibitions and projects across the region. The presentation includes works by Do Ho Suh, Kim Yun Shin, Tammy Nguyen, Liu Wei, and Anna Park, alongside a curated Kabinett presentation of new works by Mandy El-Sayegh. Additional highlights include works by Kader Attia, Loriel Beltrán, McArthur Binion, Dominic Chambers, Billy Childish, Teresita Fernández, Todd Gray, Chantal Joffe, Marilyn Minter, Catherine Opie, Tony Oursler, Lari Pittman, Alex Prager, Calida Rawles, Sung Neung Kyung, Cecilia Vicuña, Erwin Wurm, and Bille Zangewa.
The gallery’s presentation includes works by Liu Wei, ahead of the debut of his monumental new sculptures for the Genesis Facade Commission at The Metropolitan Museum of Art, opening in the fall. Liu’s practice is critically engaged with 21st-century socio-political realities through an examination of urban transformation and rapidly developing cities. Working with recontextualized found materials and architectural forms, his work reflects a dialogue between regional specificity and global contemporary concerns.
A selection of works by Do Ho Suh will be on view, ahead of a major retrospective opening at the National Museum of Modern and Contemporary Art, Seoul in fall 2026. Renowned for his poetic investigations of memory, migration, and the notion of home, Suh’s practice has played a pivotal role in shaping contemporary conversations around identity and architecture. Also featured is Kim Yun Shin, whose expansive retrospective will open at the Hoam Art Museum in Yongin, South Korea this March. A foundational figure in Korean modern and contemporary sculpture, Kim’s work bridges abstraction, materiality, and feminist art histories, offering a vital intergenerational perspective. The presentation will also include work by Tony Oursler, ahead of his solo exhibition at TOKYO NODE in Japan, opening this summer and marking his largest presentation in Asia to date. A pioneering figure in new media since the 1970s, Oursler is renowned for integrating video with sculpture, performance, and installation. His practice explores popular culture as well as historical and subcultural narratives, expanding video beyond the two-dimensional screen into immersive environments of light, sound, and projection.
New works by Tammy Nguyen will debut at the fair; Nguyen’s newly commissioned installation for the National Gallery of Singapore, called Suspension, will open in May. Nguyen’s multidisciplinary practice—encompassing painting, drawing, artist books, prints, and zines—explores the intersections of geopolitics, ecology, and lesser-known histories, drawing from narratives of colonialism, environmental change, and speculative futures.The presentation will also include new work by Korean-American Anna Park, ahead of her debut exhibition in the United Kingdom at Lehmann Maupin London this spring.
As part of the fair’s Kabinett sector, the gallery will present a focused installation of new works by London-based artist Mandy El-Sayegh, debuting new paintings from the artist’s ongoing Net-Grid Study series. The new works layer silkscreen prints, linguistic elements, and grids to consider the proliferation of materials and information, as well as the structures that contain and disseminate them. These dense compositions feature rich, iridescent colors, along with contrasting symbols and meaning. Each work contains printed newspaper clippings, currency notes, and stock market reports, adjacent to silkscreened adverts for Graff diamonds and overlayed with hand-painted and screen printed grids. The incongruity between these visual elements connects to methodologies of collage within El-Sayegh’s practice: the drawing together of material from different sources to create clashes in perception. These works expand El-Sayegh’s interest in figure-ground and part-to-whole relationships, exploring recontextualization and alternate systems of order.This presentation coincides with El-Sayegh’s solo exhibition at Space K in South Korea, situating the installation within a broader moment of concentrated institutional attention on the artist’s work in the Asian region.
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