In this new series of works, Jumalon paints an inheritance—a way of looking at the world that prioritizes curiosity and welcomes disruption. A form is never just one thing, these paintings suggest, but a series of possibilities which structure and accident conspire to make real.

In this exhibition, three artists probe collective notions of place and place-making as a postcolonial spatial reality. Centrally evoked in the ubiquitous site and spatiality of the basketball court, play becomes salient to the postcolonial imagination.

In her paintings, one finds both geomancy and geometry, DNA spirals and Daoist talisman, electromagnetic grids and qi-energy network. For Cheng, knowledge ancient and modern are equivalent tools for creating a grammar and an artistic language showing how humans may speak to the cosmos and communicate with the world at large.

Liu researches immigration case files from the Port of San Francisco, each containing the same fabricated story—women coached with scripted accounts of being born in San Francisco, visiting China, and now coming home. Their ability to enter and stay in the country depended on their invisibility. Here, Liu paints portraits that refuse us the face. Instead, we encounter the backs of women’s heads.