Emptied

In a room at the top of Kiang Malingue’s vertical gallery building in the Wan Chai neighborhood of Hong Kong, large double-height windows overlook the trees across the alleyway. Before the windows, in late 2024, for her exhibition “Daydreams,” Su-Mei Tse had laid eight white porcelain sheets resembling folio pages onto translucent silk paper on the floor. High up on the wall to the right of this configuration was a 1.5-meter-square image of the moon. On the left wall, closer to ground level, was a framed photograph of a marble Roman bust, the woman’s nose smashed off, her tight curls still intact.