In our February 2025 conversation, Bruno Zhu often employed the word “editorial” to describe his creative approach. His use of the term is tied to its circulation in the fashion industry in the early 2000s. As a womenswear major at London’s Central Saint Martins from 2010 to 2014, he learned to excise, transform, and combine elements from across the visual world to create a story and mood for each collection. It’s an endlessly generative approach, Zhu insists: “If something doesn’t work, you just cut it up or turn it upside down or inside out, and you move on.” This has allowed him to take a wide range of directions in his work, from formal experiments—men’s trousers refashioned into gloves, condoms stapled in a crucifix shape—to a “license” specifying the decorative treatment of four spatial environments, a project first manifested in London’s Chisenhale Gallery in 2024. In January of this year, he installed two interlocking sets of revolving walls at the Museum of Contemporary Art Antwerp (M HKA), intervening in the venue’s postmodern architecture as part of his solo exhibition.