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DTSTART;VALUE=DATE:20260319
DTEND;VALUE=DATE:20270128
DTSTAMP:20260818T200949Z
CREATED:20260818T200949Z
LAST-MODIFIED:20260818T200949Z
UID:10003106-1773878400-1801094399@potluckasianamerica.org
SUMMARY:Buddha and Shiva\, Lotus and Dragon
DESCRIPTION:In celebration of Asia Society’s seventieth anniversary\, Asia Society Museum presents Buddha and Shiva\, Lotus and Dragon: Celebrating 70 Years of Asia Society and the Rockefeller Legacy. \nDisplaying seventy of the finest examples of Asian art in the United States drawn from Asia Society’s permanent collection\, the exhibition showcases the extraordinary range of bronzes\, ceramics\, and metalwork thoughtfully assembled between the 1950s and the 1970s by John D. Rockefeller 3rd (1906-1978) and his wife Blanchette Hooker Rockefeller (1909-1992). John D. Rockefeller 3rd founded Asia Society in 1956 with the mission to promote greater knowledge of Asia in the United States; the bequest of the collection to Asia Society in 1979 underscores the Rockefellers’ conviction that an aesthetic encounter with great works of art promotes deep cross-cultural understanding. \nWith highlights including spectacular Buddhist and Hindu sculptures\, and rare Chinese\, Korean\, and Japanese ceramics\, Buddha and Shiva\, Lotus and Dragon celebrates historic achievements in Asian art spanning more than two millennia. The exhibition foregrounds the transformative power of faith and the catalyzing potential of international trade in the creation of great works of art across Asia. \nBuddha and Shiva\, Lotus and Dragon presents a special opportunity for museum visitors to experience the unparalleled quality of the Mr. and Mrs. John D. Rockefeller Thrid Collection at its home at Asia Society Museum in New York City.
URL:https://potluckasianamerica.org/event/buddha-and-shiva-lotus-and-dragon/
LOCATION:Asia Society\, 725 Park Avenue\, New York\, NY\, 10021
CATEGORIES:Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Buddha.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260328
DTEND;VALUE=DATE:20261027
DTSTAMP:20260327T140040Z
CREATED:20260327T140040Z
LAST-MODIFIED:20260327T140040Z
UID:10002456-1774656000-1793059199@potluckasianamerica.org
SUMMARY:Japan Fes NYC 2026:  Japanese Food Festival
DESCRIPTION:JAPAN Fes\, one of the city’s most beloved street food events\, is returning to celebrate a major milestone: its 10th anniversary in New York City\, bringing dozens of Japanese food vendors to the streets for a full day of snacking\, sipping and exploring.  Each event typically runs from 10 am to 6 pm and pops up in neighborhoods across Manhattan\, Brooklyn and Queens. \nHere are the 2026 JAPAN Fes dates in NYC: \nMarch 28 in the East Village\nMarch 29 in Midtown West \nApril 4 in the Village\nApril 5 on the Upper West Side\nApril 11 in the East Village\nApril 12 in the East Village\nApril 18 in Morningside Heights\nApril 19 in Chelsea\nApril 25 in Chelsea\nApril 26 in Astoria\nMay\nMay 2 on the Upper East Side\nMay 3 on the Upper West Side\nMay 9 in Chelsea\nMay 24 in the Village\nMay 30 on the Upper East Side\nMay 31 in the East Village\nJune\nJune 6 in the East Village\nJune 7 on the Upper West Side\nJune 14 in the East Village\nJune 21 in Brooklyn\nJune 27 in Times Square\nJune 28 in Astoria\nJuly\nJuly 11 in Chelsea\nJuly 19 in Times Square\nAugust\nAugust 2 on the Upper West Side\nSeptember\nSeptember 12 in Chelsea\nSeptember 13 in Chelsea\nSeptember 19 on the Upper East Side\nSeptember 26 in Morningside Heights\nSeptember 27 on the Upper East Side\nOctober\nOctober 3 in the East Village\nOctober 10 in Astoria\nOctober 24 in the East Village\nOctober 25 on the Upper West Side
URL:https://potluckasianamerica.org/event/japan-fes-nyc-2026-japanese-food-festival/
LOCATION:Multiple NYC locations
CATEGORIES:Food,In Person
ATTACH;FMTTYPE=image/webp:https://potluckasianamerica.org/wp-content/uploads/2026/03/jf.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260403
DTEND;VALUE=DATE:20270104
DTSTAMP:20260818T202009Z
CREATED:20260818T202009Z
LAST-MODIFIED:20260818T202009Z
UID:10003107-1775174400-1799020799@potluckasianamerica.org
SUMMARY:Shu Lea Cheang\, LOVER LOVE
DESCRIPTION:LOVER LOVE\, a new commission for the Leslie-Lohman Museum of Art by Shu Lea Cheang\, begins with a portal. A window is flung open and the gray wall of an apartment block dissolves into a turbulent\, overcast sky\, against which a smoky being is enveloped by a six-winged seraphim—an angel of the highest order. \nThis opening transition is both a gesture to Cheang’s longtime collaborator\, musician Aérea Negrot (1980–2023)\, who died by suicide\, and a marker of an entry into a hybrid space of documentation and imagination. For this film\, presented as a four-channel installation\, Cheang worked with eight intergenerational performers in Tucson\, Arizona\, all of whom contributed their own experiences\, narratives\, and dreams of and for trans and gender nonconforming life in today’s United States. \nThis collaboratively scripted film moves between physical and virtual space: between performances in a motel room\, a junkyard\, and city streets amid surrounding nature\, we can see desert plants blooming anthropomorphic appendages and souls escaping inhuman oppression to take transhuman flight. \nThe gallery’s four screens\, themselves portals to the film’s world\, can be shifted by viewers into and out of the path of each projector. Each movement triggers a segment of Negrot’s 2011 track “It’s Lover\, Love”—a dreamy\, minimalist meditation on the lingering traces of broken promises and vanished love. These aural and physical shifts create new compositions\, morphing the installation into an active landscape in which to navigate agency\, survival\, and intimacy in a time of escalating political precarity.
URL:https://potluckasianamerica.org/event/shu-lea-cheang-lover-love/
LOCATION:The Leslie-Lohman Museum of Art\, 26 Wooster Street\, New York\, NY\, 10013\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Shua-Lea.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260502
DTEND;VALUE=DATE:20261217
DTSTAMP:20260818T202523Z
CREATED:20260818T202523Z
LAST-MODIFIED:20260818T202523Z
UID:10003108-1777680000-1797465599@potluckasianamerica.org
SUMMARY:Bangladesh Not "Bhaangadesh"
DESCRIPTION:This exhibition explores how Bangladeshis in Bangladesh and beyond took actions during the 2024 mass uprisings against the quota system in place\, since 1972\, immediately after the birth of the country in 1971. Featuring articles such as printed international artworks by Bangladeshi artists\, handcrafted tools\, and relevant media\, the exhibition serves as a homage to learn\, reflect\, discuss\, and heal. \nBangladesh\, Not “Bhaangadesh” seeks to raise social (in)justice awareness through showcasing Bangladeshi artistic expression\, and persistent crimes against humanity from the summer of 2024–of government-implemented curfews\, with “shoot-on-sight” commands\, country-wide internet revoked\, houses raids\, innocent lives taken\, and unnecessary arrests made\, etc. After decades of corruption and nepotism\, Bangladeshi students stood up against the unjust quota system of prioritizing government positions rather than basing hiring on skill\, talent\, and merit–for descendants of ancestors prominent in the Bangladesh Liberation War of 1971.
URL:https://potluckasianamerica.org/event/bangladesh-not-bhaangadesh/
LOCATION:King Manor Museum\, 150-03 Jamaica Ave\, Jamaica\, NY\, 11432\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/Bhaangadesh_Flyer.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260514
DTEND;VALUE=DATE:20270125
DTSTAMP:20260915T010618Z
CREATED:20260522T200133Z
LAST-MODIFIED:20260915T010618Z
UID:10002669-1778716800-1800835199@potluckasianamerica.org
SUMMARY:Exhibition: Ed Young’s Bright Worlds
DESCRIPTION:For over 60 years\, Ed Young (1931–2023) invigorated the world of children’s books through intimate storytelling\, inventive artistry\, and potent emotionality. This first U.S. retrospective features original artwork from 15 of his most significant projects—focusing on works drawn from his personal story and Chinese folktales—alongside a selection of his sketchbooks\, family photos\, and personal effects. \nYoung achieved distinction as a beloved storyteller and illustrator who challenged younger audiences with pictorial and moral complexity. He was a towering figure in children’s literature\, reaching wide audiences while earning the field’s top honors. His retelling of the Chinese “Little Red Riding Hood\,” Lon Po Po\, introduced generations of children to Chinese folklore and won the Caldecott Medal; he also received two Caldecott Honors for earlier works. Across his career\, he garnered numerous accolades\, including multiple selections for The New York Times’ “10 Best Illustrated Children’s Books” list. \nThe exhibition traces Young’s family life in Shanghai\, where he was the fourth youngest of five children. As a teenager\, he and his brother were sent to live in Hong Kong to flee the civil war in China. He immigrated to America for college\, eventually earning an art degree from the ArtCenter School in Los Angeles\, and then moved to New York. “I set out with $20 borrowed money in my pocket to bet my life in New York City\,” he wrote. After being laid off from an advertising studio\, he submitted sketches to children’s book publisher Ursula Nordstrom\, who hired him to illustrate The Mean Mouse and Other Mean Stories (1962)\, launching a career that would span over 100 books. \nHis most memorable projects were deeply personal. Ed Young’s Bright Worlds guides viewers through key moments of his life and oeuvre with original artwork from The House Baba Built (2011)\, about his childhood in Japan-occupied Shanghai; Voices of the Heart (1997)\, exploring Chinese culture through the relationship between writing\, image and his lifelong tai chi practice; My Mei Mei (2006)\, on adopting his daughters; and Bright World (2024)\, a book published posthumously in China\, meditating on the cyclical nature of life. \n“So many of us grew up on Ed Young’s art and storytelling\,” said Herb Tam\, MOCA’s Chief Curator. “This exhibition will reveal what went into crafting masterworks of the children’s book form. Visitors will be enchanted by his fluent handling of media—from pastel and cut paper to pen\, ink\, and collage—and inspired by his story as a resourceful immigrant striving to make his mark in a creative field.” \n“As a father of three\, I’ve seen firsthand how children’s books shape the way we see the world\,” said Michael Lee\, MOCA’s President. “The imagery and storytelling stay with us—they become part of our family conversations\, our imaginations\, and even the way we share stories later in life. It’s a special honor to explore the life and mind of Ed Young\, whose work has inspired generations. Through this exhibition\, we not only celebrate his extraordinary achievements but also revisit how deeply his art was shaped by his journey as a Chinese American—reflecting his early life in China and the graceful balance he found as a lifelong practitioner of tai chi.” \nEd Young’s Bright Worlds is part of MOCA’s Luminaries for America250\, a yearlong celebration of Chinese American historymakers at the Semiquincentennial. For more about the Luminaries project\, visit https://www.mocanyc.org/2026/01/02/moca-luminaries-for-america250/ \nPhoto of Ed Young by Sean Kernan
URL:https://potluckasianamerica.org/event/exhibition-ed-youngs-bright-worlds/
LOCATION:Museum of Chinese in America\, 215 Centre Street\, New York\, NY\, 10013
CATEGORIES:Art,Book,Grades K–5
ATTACH;FMTTYPE=image/png:https://potluckasianamerica.org/wp-content/uploads/2026/05/Screenshot-2026-05-22-at-3.54.46-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260606
DTEND;VALUE=DATE:20260928
DTSTAMP:20260605T193304Z
CREATED:20260526T224054Z
LAST-MODIFIED:20260605T193304Z
UID:10002676-1780704000-1790553599@potluckasianamerica.org
SUMMARY:Art Exhibit: Shared Lines: Asian American Stories on Route 66
DESCRIPTION:Route 66 might be the U.S.’s most famous highway. Traversing the country from Santa Monica\, CA to Chicago\, IL\, it’s been immortalized in songs\, books\, and movies. But along that iconic highway are stories that are far lesser known. \nWith a grant from the National Trust for Historic Preservation\, illustrator Sammy Yuen set out on a roadtrip to capture those stories. This exhibition — coinciding with Route 66’s 100th anniversary this fall — brings some of them to life. \nLike the stone guardian lions that appeared out of nowhere in Amboy\, CA\, a former ghost town purchased by Japanese American restaurateur and preservationist\, Albert Okura. The water towers in Kingman\, AZ that once supported operations of the railroad built by Chinese laborers. The Chinese American Museum of Chicago\, housed in an erstwhile tofu factory donated by Chinese immigrant and grocery magnate Raymond Lee. \n“This whole journey started with my first exhibition at Pearl River Mart\,” says Sammy. “Showing my new exhibition there brings it back\, full circle. I also like the idea of exploring Asian American communities outside of New York City’s Chinatowns. Beyond Manhattan and Flushing. Sometimes it’s just a strip mall or restaurants spread out in an area. But the stories of the people are often the same.” \nJoin us for the opening reception on June 6. Attendance is free but registration is appreciated. \n\nOn view June 6 through Sept. 27 in the Pearl River Mart gallery at 452 Broadway\nFree and open to the public every day from 11 AM to 7 PM\nLearn more in our interview with Sammy\n\nSpecial thanks to the National Trust for Historic Preservation\, who provided curation for this exhibition. \nThis exhibition is dedicated to Sammy’s father\, Sammy Yuen\, Sr. (1935 to 2026)\, for his unwavering support of the people he loved. \nAbout the Artist\nSammy Yuen is an artist\, illustrator\, designer\, writer\, and martial arts instructor. He is the recipient of multiple grants\, including awards from the Lower Manhattan Cultural Council\, the National Trust for Historic Preservation\, and the Asian American Arts Alliance. His work has been exhibited at Pearl River Mart\, the Chinese American Museum of Chicago\, and Google Arts & Culture. He is currently developing a multi-generational picture book inspired by his family’s martial arts legacy. \nWith over 20 years of experience in the publishing industry\, he has created book covers — including more than 35 New York Times bestsellers — as well as marketing and advertising materials\, animated videos\, and social media assets. Across all of his work\, his goal is to tell stories that engage audiences and spark conversation.
URL:https://potluckasianamerica.org/event/shared-lines-asian-american-stories-on-route-66/
LOCATION:Pearl River Mart Gallery – Soho\, 452 Broadway\, New York\, NY\, 10013\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/05/13_Route_66_Map_1_1024x1024-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260826
DTEND;VALUE=DATE:20261019
DTSTAMP:20260911T220931Z
CREATED:20260911T220931Z
LAST-MODIFIED:20260911T220931Z
UID:10003347-1787702400-1792367999@potluckasianamerica.org
SUMMARY:Christine Sun Kim: Moon Mind
DESCRIPTION:Gallery Hyundai is pleased to present Moon Mind\, a solo exhibition by Christine Sun Kim (b. 1980)\, on view from August 26 through October 18. Marking Kim’s first gallery exhibition in Korea and her first solo presentation with Gallery Hyundai\, the exhibition will debut the artist’s shaped canvas paintings for the first time. Kim has long transformed personal experience into new forms of language rather than direct representation\, exploring the social structures of sound and language through her practice. In Moon Mind\, Kim looks into her mind\, memory\, family\, relationships with those around her\, and her roots\, presenting forty shaped canvas paintings and drawings in a rhythmic visual arrangement. \nChristine Sun Kim’s practice studies how sound operates within society\, addressing questions of sound\, language\, power\, access\, and social relations through a distinctive visual language. Working across drawing\, performance\, video\, installation\, large-scale murals\, and public projects\, Kim brings together American Sign Language (ASL)\, musical notation\, written language\, infographics\, and humor as central elements of her work. Grounded in Deaf culture and her own experience\, Kim examines the rules of communication assumed by a society organized around spoken language. Her work asks who gets to speak\, who controls meaning\, and which languages gain recognition in public space. \nMoon Mind extends this line of inquiry while shifting Kim’s focus from social structures toward her own interior world. While her earlier works often foregrounded a critical engagement with the norms of a hearing-centric society and the histories of the Deaf community\, the works in this exhibition treat the mind as a spatial form\, giving it shape\, weight\, and a sense of proximity. Kim explores shifting emotions and memories through her relationships with herself\, her family\, her children\, friends\, and those around her. Through the experiences of becoming a mother\, building a family\, and seeing her language and work reach wider audiences\, Kim begins to treat the form of the mind in a more playful and experimental way. Her focus\, once directed toward social structures and the power relations embedded in language\, deepens in this exhibition toward the personal mind\, family\, intimate relationships\, and layers of time and memory\, opening a new direction in her practice. \nThe shaped canvas paintings presented for the first time in this exhibition take the form of diptychs composed of an upper and a lower canvas. Continuing her recent Mind series\, Kim develops this new body of canvas works by exploring the possibility of translating the mind into spatial and sculptural form. Depending on shifting emotional states\, one’s mind may feel closer to or farther from another mind\, a memory of the past\, or an object such as the moon. Attentive to this fluid state of mind\, Kim positions the mind and the object it encounters across the upper and lower canvases\, using the distance between them to suggest shifting psychological proximity. The distance between the upper and lower canvases can change\, suggesting the mind’s constantly shifting state. \nThe work Moon Mind\, from which the exhibition takes its title\, carries multiple layers of meaning that emerged as Kim reflected deeply on her inner world and roots. In ASL\, the signs for “mind” and “moon” both involve a tap on the temple\, creating a connection between the two words. The moon also appears in expressions that refer to time and the past\, such as “once in a blue moon” and “many moons ago.” At the same time\, Kim’s daughter is named Dal\, which means “moon” in Korean. For Kim\, the moon connects the mind\, family\, time\, language\, and her roots as a Korean American artist. It is also a recurring symbol found across expressions\, myths\, and stories in many languages. In this way\, Moon Mind embraces a body of work that begins with the artist’s inner world and expands toward family\, memory\, cultural roots\, and relationships with other minds. \nThe surface of the paintings also plays an important role in the exhibition. Just as charcoal leaves natural smudges and stains in Kim’s works on paper\, the canvas works create another kind of trace. Kim builds up deep blues and greens through swirling brushwork\, creating surfaces so dark they appear almost black\, yet layered with depth. Unlike earlier works that often conveyed meaning clearly through text and symbols\, the works in this exhibition allow color\, brushwork\, and the material qualities of paint to operate as a new visual language\, revealing Kim’s inner world and sensibility. This shift and expansion also carries into the drawings made with acrylic paint. During her 2025 residency at the American Academy in Rome\, Kim began experimenting with acrylic on paper\, exploring the movement of the brush\, the density of paint\, and the ways it spreads and layers on the surface. In this acrylic series\, words such as “Mind\,” “Land\,” “Mass\,” “Tap\,” “Touch\,” and “Still” come together with arched lines\, moving the work in a more abstract direction. Rather than guiding viewers toward one definitive interpretation\, the works invite them to trace how the mind lands\, touches memory\, lingers in repetition\, and gradually fades. \nThe exhibition also includes works that borrow musical dynamics\, used to indicate volume in music\, to visualize states of mind and the movement of time. Kim uses “p\,” for “piano\,” meaning to play softly\, and “f\,” for “forte\,” meaning to play loudly\, as signs for mapping states of mind and temporal direction. Here\, p also refers to the past\, connecting to roots\, family\, and home. As the number of ps increases\, so does the weight of the past and the depth of time. By contrast\, f refers to the future\, connecting to energy\, activity\, speed\, the unknown\, and anxiety. The arched lines in the works evoke both the mind and land\, while also suggesting the passage of time\, in which a state continues and returns. Kim approaches the mind as a three-dimensional space and psychological terrain\, using the arch to show how the sensations of the past\, family\, home\, and homeland take root and accumulate within it. The softness or steepness of each arch reveals the rhythm and intensity of a mind moving through time\, suggesting a motion that recedes and returns. \nIn Moon Mind\, Christine Sun Kim brings together shaped canvases and drawings\, musical dynamics and written language\, and arched lines to present the mind not as a fixed state\, but as a space in continual motion through time\, relationships\, and memory. Across the exhibition\, the mind encounters the moon\, land\, the past\, family\, and other minds\, creating different senses of distance\, speed\, and intensity. As viewers move through the exhibition\, these elements form a visual rhythm of distance\, return\, and transformation\, allowing viewers to sense how the mind’s relationships to others\, to memory\, and to itself continue to shift.
URL:https://potluckasianamerica.org/event/christine-sun-kim-moon-mind/
LOCATION:Gallery Hyundai New York Project Space\, 529 W 20th St\, Room 6E\, New York\, NY\, 10011\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/Christine-Kim-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260826
DTEND;VALUE=DATE:20261019
DTSTAMP:20260911T221336Z
CREATED:20260911T221336Z
LAST-MODIFIED:20260911T221336Z
UID:10003348-1787702400-1792367999@potluckasianamerica.org
SUMMARY:Kim Bohie - TOWARDS: There Was Light
DESCRIPTION:“That a still surface can hold yesterday\, today\, tomorrow at once; that here\, there\, and elsewhere can meet in the same moment; that different times and spaces can unfold together on a single\, fixed plane—it still fills me with wonder.” —Kim Bohie\, July 2026 \nGallery Hyundai is pleased to present TOWARDS: There Was Light\, a solo exhibition by Kim Bohie (b. 1952)\, on view from August 26 through October 18. This exhibition marks Kim’s first solo exhibition in Korea since the Days at the Jeju Museum of Contemporary Art in 2022. It also brings her back to Gallery Hyundai for her presentation with the gallery in thirty-eight years\, following The Third Kim Bohie Solo Exhibition in 1988. TOWARDS: There Was Light surveys more than four decades of Kim’s sustained engagement with nature\, focusing on her exploration of light in painting. Featuring approximately thirty works\, the exhibition presents new paintings from the Towards series that depict the garden and sea of Jeju\, flowers\, fruits\, and her dog Leo\, and other landscapes intimately connected to the artist’s daily life alongside the monumental The Days (2022)\, recently shown in the Unlimited sector of Art Basel in Basel earlier this year. \nRather than simply perpetuating the traditions of Korean painting or adopting Western conventions\, Kim has developed a distinctive pictorial language that brings the materials and formal sensibilities of East Asian painting into dialogue with the chromatic fields and expanded scale of modern and contemporary painting. Working on canvas and hanji\, she repeatedly applies mixtures of traditional mineral pigments\, water\, and glue\, allowing color to slowly permeate and accumulate in translucent layers that create a depth particular to her work. Her figurative compositions bring together different experiences of time: the prolonged observation of nature\, the time in which a landscape settles into memory as an inner image\, and its eventual reconstruction. What matters in Kim’s work\, therefore\, is not simply what she depicts\, but how the time and sensations accumulated through looking and remembering re-emerge as landscape. Nature experienced at different moments and in different places converges on a single plane\, where past and present\, near and far\, observed landscape and inner image coexist within the same pictorial space. \nWithin this process\, light serves as both a sensory measure through which Kim perceives nature and a medium through which she registers its ceaseless passage and change. Shifting with the hours of the day and the seasons\, light renders the same garden or sea anew each time\, altering its colors\, contours\, and atmosphere. Kim has long attended to these subtle transformations\, holding them in memory before reconstituting them through her own perception and imagination on the painted surface. Her engagement with light predates her recent paintings of Jeju. As early as the 1970s\, she depicted dawn filtering through a forest and light shimmering across the surface of a river. Across the decades\, her subjects have encompassed deep greens under intense sunlight\, the sea and its horizon\, the waxing and waning moon\, and plants transformed by the seasons—nature continually remade by changing conditions of light. \nThe exhibition title TOWARDS: There Was Light alludes to the moment of creation when light first emerges from darkness and the world begins to take form. It resonates with Kim’s lifelong gratitude and reverence for nature\, while extending beyond spiritual symbolism to describe a fundamental condition of her painting: light enables her to perceive change and time in the natural world and to translate those perceptions into pictorial form. Just as light allows the colors and forms of the world to become visible\, Kim’s paintings begin with sustained attention to nature as it changes from one moment to the next. Her gaze carries within it different seasons and times\, places once encountered\, and innumerable living beings and fleeting moments\, accumulated as layers of memory and sensation. In this sense\, “There Was Light” refers not only to the light by which the world becomes visible\, but also metaphorically to that which summons the artist’s lived and remembered experience into the present tense of painting\, drawing disparate times and spaces into a single pictorial landscape. \nThe title also draws on Towards\, one of Kim’s principal bodies of work. Rather than implying arrival at a fixed destination\, “Towards” describes a way of looking that continually reaches beyond what is immediately present. Life on Jeju has drawn this attention ever closer to the world of her everyday surroundings. Palm trees\, flowers\, fruit\, and seeds from the garden she tends; the sea and horizon she encounters daily; and Leo\, the dog who remained by her side for many years\, have all entered her paintings. A gaze directed toward a single leaf or seed expands to encompass a tree and then the entire garden before opening outward toward the sea and beyond the horizon. Through this movement from part to whole\, from near to far\, minute forms of life and expansive landscapes emerge not as separate subjects but as different dimensions of a shared world. Just as Kim’s gaze moves from seed to garden\, garden to sea\, and from the smallest life before her toward what lies beyond the horizon\, her painting never settles into a single\, definitive landscape\, but continually looks beyond it. \nThe exhibition unfolds across three floors\, following these shifts in vision and transformations of light. On the first floor\, new paintings from the Towards series depict the flowers and plants of Kim’s garden\, her dog Leo\, the sea\, and the setting sun\, tracing a movement from the intimate world of the artist’s immediate surroundings toward more distant vistas. From the vivid colors of plants illuminated by sunlight to skies and seas suffused with the hues of dusk\, familiar places are continually transformed by changing light. On the second floor\, both the distance of Kim’s gaze and the scale of her painting expand. Open views of the sea extending beyond the horizon appear alongside close-up images of palm fronds and fruit\, as well as the monumental The Days (2022)\, first presented at the Jeju Museum of Contemporary Art in 2022 and shown again in the Unlimited sector of Art Basel in Basel earlier this year. The exhibition continues in the basement\, where the vivid chromatic register of daylight gives way to nature transformed by moonlight and the darkness before dawn. The palette contracts into black\, white\, and deep blue\, while mountains\, forests\, and waterways emerge through restrained contours and planes. Moving through the three floors\, viewers encounter the same world appearing and reappearing in different guises\, continually altered by light and time. \nTOWARDS: There Was Light moves beyond the familiar characterization of Kim Bohie as a painter of Jeju landscapes\, recognizing her as a significant figure who has expanded the formal legacy of Korean painting into a distinctly contemporary pictorial language and forged a singular trajectory within modern and contemporary Korean art. Shaped through prolonged observation\, memory\, and repetition\, nature in Kim’s paintings is not a fixed view but a living world that assumes a different appearance with every shift of light and time. Following the artist’s sustained attention to these transformations\, the exhibition reveals how a single\, still plane can hold different times and spaces\, memories and sensations at once. Here\, painting becomes a place from which to look again at the world we think we know and to turn our gaze beyond the visible\, toward worlds not yet seen.
URL:https://potluckasianamerica.org/event/kim-bohie-towards-there-was-light/
LOCATION:Gallery Hyundai New York Project Space\, 529 W 20th St\, Room 6E\, New York\, NY\, 10011\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/Kim-Bohie-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260904
DTEND;VALUE=DATE:20260919
DTSTAMP:20260902T215023Z
CREATED:20260902T214935Z
LAST-MODIFIED:20260902T215023Z
UID:10003296-1788480000-1789775999@potluckasianamerica.org
SUMMARY:Temporary Storage
DESCRIPTION:ETA Gallery is pleased to present “Temporary Storage”\, a duo exhibition featuring new works by Mi Chen and Yan Wang. Working through ceramic and language\, both artists create objects that demand to be seen before they are read\, deliberately keeping meaning in suspension. Where Wang stores memory and the absent body\, Chen stores language itself—holding and slowing text before it settles into sense. Together\, they arrive at a shared refusal to resolve\, approaching the concept from distinct directions. \nMi Chen’s practice centers on typography and the structural systems that carry it. In her new works\, punctuation loosens from language to become shape\, rhythm\, furniture\, or a wall to look at rather than through. By intentionally slowing the eye\, Chen keeps text half-visible\, allowing form to precede meaning. Working iteratively across two- and three-dimensional surfaces\, she creates conditions where familiar patterns shift\, break\, or loop—a sustained process of locating herself in relation to what she makes. \nYan Wang addresses what the body leaves behind. In the exhibition space\, porcelain pillows rest in a dim circle accompanied by a low-humming recording\, framing history not as surviving names\, but as the bodies that dreamed and vanished. Across ink\, paper\, and clay\, Wang’s objects carry the thickness of time\, the debris of a hometown\, and the ghost of a head on a pillow. She works toward release rather than a definitive statement\, offering an invitation to dream together rather than inherit a singular narrative. \n“Temporary Storage” highlights what an object can sustain without resolving: forms that simultaneously hold presence and loss\, store what cannot be surrendered\, and remain open as long as they are observed. \nOpening Reception September 4\, 2026 6–8 PM
URL:https://potluckasianamerica.org/event/temporary-storage/
LOCATION:Chinese American Arts Council / Gallery 456\, 456 Broadway\, 3rd Floor\, New York\, NY\, 10013\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/temporary_storage_poster_1-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260906
DTEND;VALUE=DATE:20260928
DTSTAMP:20260903T032659Z
CREATED:20260903T032329Z
LAST-MODIFIED:20260903T032659Z
UID:10003307-1788652800-1790553599@potluckasianamerica.org
SUMMARY:Khudi Food Pop-Ups
DESCRIPTION:Khudi and Kaafi by Chaiguys host weekly Sunday pop-ups every Sunday in September on Ludlow Street\, featuring freshly baked Pakistani-inspired cookies and savory scrolls with new flavors dropping each week. \nDates: 9/6\, 9/13\, 9/20\, 9/27\nTime: 1:00 to 4:00 PM every Sunday
URL:https://potluckasianamerica.org/event/khudi-food-pop-ups/
LOCATION:Kaafi by Chaiguys\, 109 Ludlow St.\, New York\, NY\, 10002\, United States
CATEGORIES:Food
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/Khudi-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260909T190000
DTEND;TZID=America/New_York:20261110T220000
DTSTAMP:20260514T131339Z
CREATED:20260514T131339Z
LAST-MODIFIED:20260514T131339Z
UID:10002641-1788980400-1794348000@potluckasianamerica.org
SUMMARY:Ma-Yi Theatre Free FALL Playwriting Workshop with Lisa Sanaye Dring
DESCRIPTION:Ma-Yi Theatre Free FALL Playwriting Workshop with Lisa Sanaye Dring\n\n\nDue to the overwhelming response to our summer Free Playwriting Workshop\, Ma-Yi Theater Company is thrilled to announce two additional FREE playwriting workshops in Fall 2026\, taught by award-winning playwright Lisa Sanaye Dring\, author of SUMO and HAPPY FALL. \nCreated for Filipino American and AANHPI aspiring writers\, these workshops are open to writers who are ready to begin\, grow\, experiment\, or finally say: Yes. I’m writing the play. \nBoth classes are completely FREE and will offer participants a supportive\, rigorous\, and energizing space to explore the fundamentals of playwriting\, including character\, dialogue\, action\, structure\, theme\, and theatrical style. Through writing prompts\, discussion\, readings\, and feedback\, participants will generate new pages and develop their voices in community with fellow writers. \nThe first six sessions will meet online\, making the workshop accessible for working adults and busy schedules. The workshop will then culminate in an in-person showcase presentation\, where participants’ work will be brought to life by professional actors and directors. \nThis is more than a class. It is a chance to write\, dream\, build\, revise\, and hear your words leap off the page. \nFree. Online. Fun. Limited slots available. Register early. \nMondays 7pm-10pm – September 21 – November 9 \nor \nTuesdays 7pm-10pm – September 22 – November 10 \nFor more information: info@ma-yitheatre.org \nSpace is limited— signing up does not guarantee entry into class.
URL:https://potluckasianamerica.org/event/ma-yi-theatre-free-fall-playwriting-workshop-with-lisa-sanaye-dring/
LOCATION:Virtual
CATEGORIES:Hybrid,In Person,Theater,Virtual,Writing
ATTACH;FMTTYPE=image/png:https://potluckasianamerica.org/wp-content/uploads/2026/05/unnamed-2026-05-14T085820.676.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261025
DTSTAMP:20260911T215654Z
CREATED:20260911T215539Z
LAST-MODIFIED:20260911T215654Z
UID:10003345-1788998400-1792886399@potluckasianamerica.org
SUMMARY:Maia Ruth Lee: Double Vision
DESCRIPTION:Tina Kim Gallery is pleased to present Double Vision\, Maia Ruth Lee’s second solo exhibition with the gallery. \nInterrogating migration as simultaneous perception\, Lee conditions identity within multiple histories\, temporalities\, and systems of knowledge. Lee’s exhibition takes its title from Homi K. Bhabha’s The Location of Culture. The migrant’s double vision simultaneously inhabits both the place left behind and the place occupied as the condition for a complete understanding of the migrant’s life. Double vision becomes both a metaphor and a new way of working memory as material. Across both gallery spaces\, Lee’s work expands and contracts image and sculpture\, memory and record. Forms stack\, unfold\, mirror\, and reassemble\, building identity as a continuous accumulation\, complicating the narrative of migration as one fixed point of origin. \nAnchoring the exhibition is a series of new paintings from Lee’s Bondage Baggage methodology. The suitcase is a generative metaphor where luggage becomes more than functional objects of transport. They are vessels where memory\, absence\, expectation\, and aspiration collide. \nLee’s double vision manifests as a physical experience\, with every form existing alongside another version of itself. New sculptures with latex layers preserve the form and surface imprint of the bound bundle after its contents are released. Video stills of the artist’s family are sewn onto the expandable 이민가방’s colossal luggage form. A newly commissioned video installation draws from Lee’s family archive\, incorporating home footage recorded by her parents in Nepal and Korea. \nDeeply rooted in the distinct architectural and visual language of New York City\, Lee revisits her steel glyphs from 2019–salvaged architectural fragments from the city. The assemblages occupy the space between word and sculpture\, an open-ended code that remains vaguely familiar\, yet stubbornly illegible. \nDouble Vision proposes history as a layered\, omnidirectional\, and omnitemporal experience even as it remains tethered to earthly forms. Mirrors\, suitcases\, sculptures\, textiles\, salvaged objects\, and paintings are sites of doubled perception. Memory folds into itself\, and the boundaries between past and present remain deliberately unresolved. Lee’s practice comprises an ever-expanding archive in a constant state of assembly\, stacking\, transporting\, translating\, and seeing. \nAbout the artist \nMaia Ruth Lee (b. 1983\, Busan; lives and works in San Francisco) has held solo exhibitions at Primary Nottingham (UK)\, Institute of Fine Arts\, New York University (NY)\, The Museum of Contemporary Art Denver (CO)\, François Ghebaly Gallery (LA)\, and Mai 36 Galerie (CH). Lee has participated in numerous group exhibitions at institutions including Santa Barbara Museum of Art and Aspen Art Museum\, as well as the Sky High Farm Biennial 2025 (NY); Prospect 6.\, New Orleans; and the 2019 Whitney Biennial. Lee received a BFA from Hongik University and attended the Emily Carr Institute of Art and Design in Vancouver\, Canada\, and is currently enrolled in a Masters in Migration Studies program at the University of San Francisco. Lee was the recipient of the Gold Art Prize in 2021 and the Rema Hort Mann grant in 2017. Her work is held in the permanent collections at the Whitney Museum of American Art\, Philadelphia Museum of Art\, and Syracuse University Art Museum.
URL:https://potluckasianamerica.org/event/maia-ruth-lee-double-vision/
LOCATION:Tina Kim Gallery\, 525 W 21st St.\, New York\, NY\, 10011\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/Maia-Ruth-Lee-2-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261129
DTSTAMP:20260911T220300Z
CREATED:20260911T220300Z
LAST-MODIFIED:20260911T220300Z
UID:10003346-1788998400-1795910399@potluckasianamerica.org
SUMMARY:John Pai - Meditation: Myth and Memory
DESCRIPTION:Gallery Hyundai is pleased to present “Meditation: Myth and Memory”\, an exhibition of Korean American sculptor John Pai\, a major force in the Korean American diaspora of the last half-century. The opening reception takes place on Thursday September 10\, 6-8pm at Gallery Hyundai New York Project Space. \nThis exhibition seeks to provide a space for meditation where myth and memory\, as in Pai’s world\, could be considered as companions—at times synchronous\, and at times on their own path\, but never stagnant. Centering around his two major series Heaven and Earth (2024) and Entropy’s Sirens (1997) trio\, it marks the first occasion the trio is presented as a group including two previously unseen pieces\, also accompanied by a selection of sculptures and drawings. \nNotably in the Heaven and Earth series\, a single point becomes a line\, then a form\, and appears to trail off to gesture to the space around it\, going past the artist’s agency and into another realm. This work manifests Pai’s guiding ethos\, where the artist’s mind (and the memories and ideas contained within the artist) inform his beginning but the work ultimately develops in conversation with the material and work’s own response. This conversational and improvisational method demonstrates Pai’s understanding that memories are not stable but shift with the everchanging present\, sometimes appearing closer to myth rather than reality. Completed when Pai was eighty-seven years old\, this grouping of sculptures reveal an artist in his maturity who still remains playful and deeply curious. \nPai is gaining heightened recognition for his indisputable contributions to sculpting with steel as well as his groundbreaking pedagogical methods since becoming the youngest appointed professor at Pratt Institute in 1965\, eventually becoming the director of fine art\, then chairman of the sculpture department\, a post he remained in for thirty-seven years. Referred to as “drawing in space\,” his signature use of numerous thin\, short steel rods with a hand-held welding tool reflected Pai’s active engagements with burgeoning movements in postwar New York such as the American Bauhaus and Neo-Avant-Garde. Pai’s sculptures are born out of a dynamic field of inquiry\, unbridled by discipline\, such as topology\, physics\, phenomenology\, and musical processes of improvisation. Following his major retrospective exhibition held in April 2024 at the Korean Cultural Center in New York called John Pai: Eternal Moment and his solo exhibition Shared Destinies at Gallery Hyundai in Seoul later that year\, this presentation is an opportunity for closer examination of Pai’s guiding ethos; a process of intimate surrender\, both with materials\, as well as his relationship to the world.
URL:https://potluckasianamerica.org/event/john-pai-meditation-myth-and-memory/
LOCATION:Gallery Hyundai New York Project Space\, 529 W 20th St\, Room 6E\, New York\, NY\, 10011\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/John-Pai-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20270104
DTSTAMP:20260818T214831Z
CREATED:20260818T214831Z
LAST-MODIFIED:20260818T214831Z
UID:10003122-1788998400-1799020799@potluckasianamerica.org
SUMMARY:Celebrating Sixty Years of China Institute Gallery: 1966-2026
DESCRIPTION:Founded in 1966\, the China Institute Gallery has presented the history of Chinese art from antiquity to the present through superb and thought-provoking exhibitions. The masterworks featured in Celebrating Sixty Years of China Institute Gallery: 1966-2026 exemplify what has made the Institute’s exhibitions groundbreaking. From presentations of exquisite jades and bronze vessels\, to the symbolism of old trees\, to Chinese ceramics\, calligraphy\, and architecture—China Institute’s displays have consistently illuminated pathways to a deeper understanding of the culture of China.
URL:https://potluckasianamerica.org/event/celebrating-sixty-years-of-china-institute-gallery-1966-2026/
LOCATION:China Institute Gallery\, 100 Washington Street\, New York\, NY\, 10006\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/China-Institute.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260911
DTEND;VALUE=DATE:20260928
DTSTAMP:20260913T140004Z
CREATED:20260913T122525Z
LAST-MODIFIED:20260913T140004Z
UID:10003372-1789084800-1790553599@potluckasianamerica.org
SUMMARY:Guest House: Welcome Home
DESCRIPTION:Portraiture is as old as the pharaohs of Egypt. While mediums such as drawing\, painting\, and photography dominate the practice\, rendering a three-dimensional likeness yielded astounding work across centuries\, from the chiseled marble of the Renaissance to Gian Lorenzo Bernini’s sensuous sculptures. Unlike marble\, stone\, or bronze\, wax possesses a luminosity that makes it ideal for human approximation. In the last century\, the art of the wax figure has evolved from commercial spectacle into a medium for serious artistic exploration. \nBased in Zhongshan\, China\, and with three decades of experience\, the artist Zhou Xuerong has created more than 900 wax figures through her studio Grand Orient Wax Art. In her first U.S. exhibition\, Guest House: Welcome Home\, she depicts human figures\, each a work of original artistic interpretation\, engaged in six rituals that shape Asian life. With a nod to American photographer Gregory Crewdson’s staged tableaux exploring the ennui of suburban life\, Zhou zooms in and situates her protagonists in common domestic scenes: sipping tea\, practicing calligraphy\, inserting acupuncture needles\, cooking with a wok\, sharing a meal\, and playing the erhu\, a two-stringed fiddle. \nEach figure is dressed in a qipao\, a historical silhouette that originated as loose-fitting military gowns worn by nobles during the Qing Dynasty. At the turn of the 20th century\, Shanghai became a center of international trade\, influencing local tailors to draw on Western design to nip the qipao’s waistline\, narrow its skirt\, and lengthen its side slit. Today\, the dress’s form is a fixture in both Eastern and Western fashion. \nThe figures’ faces evoke familiar presences — cultural icons reimagined and transplanted into a room where their identity dissolves into ambiguity\, fluctuating between the everyday and the uncanny. They sit at a tea table\, lift a calligraphy brush\, pluck at a classical instrument\, and together pose a critical question at the heart of the artist’s commentary: what happens when one culture’s icons are transposed into the traditions of another? \nZhou’s quiet interiority of place and person is an inheritance made visible — for insiders\, a mirror; for outsiders\, a window. We must consider how Chinese culture\, once mocked and derided\, has traveled\, and now shapes a global imagination. Above all\, Guest House: Welcome Home is a cultural bridge. Zhou illuminates connection through an emotive stillness: a turned wrist\, a pursed lip\, a downward gaze. Her wax guests partake in ritual as a form of welcome and practice as a gesture of love. \nGuest House: Welcome Home is an original work of fine art and cultural commentary by Zhou Xuerong. The exhibition is not sponsored by\, affiliated with\, or endorsed by any individual to whom the sculptures may bear a resemblance. \nDates: Sep 11 2026 to Sep 27 2026\nTimes: 12:00 PM – 6:00 PM
URL:https://potluckasianamerica.org/event/guest-house-welcome-home/
LOCATION:The Wang Contemporary\, 58 Bowery\, New York\, NY\, 10013\, United States
CATEGORIES:Art,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/Wang-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260911
DTEND;VALUE=DATE:20260918
DTSTAMP:20260818T232749Z
CREATED:20260818T231907Z
LAST-MODIFIED:20260818T232749Z
UID:10003123-1789084800-1789689599@potluckasianamerica.org
SUMMARY:Masaki Kobayashi’s KWAIDAN
DESCRIPTION:Japan\, 1964\nDirected by Masaki Kobayashi\nBased on a collection of folktales by Lafcadio Hearn\nStarring Tatsuya Nakadai\, Rentarô Mikuni\, Michiyo Aratama\, Misako Watanabe\nApprox. 183 min. \nRentarô Mikuni finds a skeleton at the feast when he adds a second wife; woodcutter Tatsuya Nakadai meets a strange woman in the snow; a blind biwa player gives a command performance for a spirit; an apparition appears in a cup of tea: four ghost stories by expat Lafcadio Hearn (1850-1904). Kobayashi’s first color film\, with an eerie score.
URL:https://potluckasianamerica.org/event/masaki-kobayashis-kwaidan/
LOCATION:Film Forum\, 209 W. Houston St.\, New York\, NY\, 10014\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/KWAIDAN_slideshow_2026-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260911
DTEND;VALUE=DATE:20261122
DTSTAMP:20260902T215808Z
CREATED:20260902T215710Z
LAST-MODIFIED:20260902T215808Z
UID:10003297-1789084800-1795305599@potluckasianamerica.org
SUMMARY:Theresa Hak Kyung Cha: Multiple Offerings
DESCRIPTION:Artists Space presents “Multiple Offerings”\, the first retrospective in twenty-five years dedicated to the groundbreaking work of the artist Theresa Hak Kyung Cha. She produced an expansive range of works comprising performances for film and video\, installation\, photography\, artist’s books (including her genre-defying book Dictée from 1982)\, and works on paper\, which will fill Artists Space’s entire first floor. In her lifetime\, Cha contributed to experimental art scenes in New York City\, San Francisco\, Paris\, and beyond. Her work has had a quietly profound influence on subsequent generations of artists. \nAfter emigrating from South Korea to the United States\, Cha enrolled at UC Berkeley in 1969\, where she studied art practice\, comparative literature\, and film. Keenly attuned to the active role that audiences play in the creation of meaning\, she prioritized nonlinear narratives to allow for more open-ended forms of interpretation—what she termed a method of “Multiple Telling with Multiple Offering.” This retrospective adopts her framework to allow for a range of entry points into the work\, guiding visitors through the themes—memory\, displacement\, and the mutability of language\, among others—that recur in Cha’s oeuvre. \nCha moved to New York City in 1980\, where she supported herself with several jobs while pursuing her artistic career. She worked as an administrative assistant in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art\, taught video art at Elizabeth Seton College in Yonkers\, and served as an editor at Tanam Press\, a publishing imprint dedicated to artists’ books that was founded by her friend and collaborator Reese Williams. \nOn November 5\, 1982\, Cha’s short but prolific career came to an end when she was murdered just weeks before her planned exhibition at Artists Space. At the time of her death\, Cha was producing a new photographic series inspired by her time working at the Met. Multiple Offerings presents that unfinished series of black-and-white prints alongside nearly one hundred artworks and archival materials from across her career\, highlighting the inventive\, playful\, and meditative methods of Cha’s practice.
URL:https://potluckasianamerica.org/event/theresa-hak-kyung-cha-multiple-offerings/
LOCATION:Artists Space\, 11 Cortlandt Alley\, New York\, NY\, 10013\, United States
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/Theresa-Cha-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260914
DTEND;VALUE=DATE:20270511
DTSTAMP:20260819T023556Z
CREATED:20260819T023258Z
LAST-MODIFIED:20260819T023556Z
UID:10003133-1789344000-1809993599@potluckasianamerica.org
SUMMARY:Teaching Asian American and Pacific Islander Histories Webinar Series
DESCRIPTION:As a valued friend of Foundations and Futures\, we cordially invite you to a free webinar series co-sponsored by the UCLA Asian American Studies Center\, UCLA Center X\, the American Federation of Teachers (AFT)\, and the National Education Association (NEA). The Teaching Asian American and Pacific Islander Histories Webinar Series will take place once a month on Mondays throughout the school year and will highlight chapters from the Foundations and Futures Multimedia Textbook. \nEach webinar session will take place via zoom on a Monday from 4:00-5:30 PM Pacific Time. \nSales end on Sep 14\, 2026 \nWebinar Schedule: \n\nSeptember 14\, 2026: We Are Here Because You Were There: Race\, Colonialism\, and Migration\nOctober 19\, 2026: Kānaka ʻŌiwi: Indigenous Hawaiian Identity\, Culture\, and Rebirth of the Sacred\nNovember 9\, 2026: Asian American Popular Culture: Representation\, Propaganda\, and the Media\nJanuary 11\, 2027: Asian American Exclusion: Aliens Ineligible to Citizenship\nFebruary 8\, 2027: Asian Americans in the US South: Labor\, Civil Rights\, and Identity\nMarch 8\, 2027: South Asian Americans before 1965: Stories of Perseverance\, Activism\, and Cultural Exchange\nApril 12\, 2027: Vietnamese American Experiences: Learning From Refugee Experiences\nMay 10\, 2027: Youth Organizing: Building Multiracial Solidarities\n\nSessions will feature a special guest presentation from one of the chapter authors. Two teachers will then present lesson plans and examples of use in their classrooms. \nYou can register for a webinar at this link: bit.ly/TeachingAAPI. On the Eventbrite link\, click “Check Availability” and select a session date and time. A pop-up with all the webinar sessions will appear and you can select all the sessions you would like to attend. You will receive a follow-up email with the Zoom link for each upcoming session.
URL:https://potluckasianamerica.org/event/teaching-asian-american-and-pacific-islander-histories-webinar-series/
CATEGORIES:Education,History
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/08/UCLA-History.jpeg
LOCATION:
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260915
DTEND;VALUE=DATE:20260919
DTSTAMP:20260911T210429Z
CREATED:20260911T210427Z
LAST-MODIFIED:20260911T210429Z
UID:10003340-1789430400-1789775999@potluckasianamerica.org
SUMMARY:National Voter Registration Day
DESCRIPTION:It’s approaching that time of the year once again; National Voter Registration Day is almost here! \nThis year\, National Voter Registration Day falls on Tuesday\, September 15\, 2026. Join APA VOICE this week across NYC for 5 local community events to:\n✅ Register to vote\n✅ Check your voter status\n✅ Make your voting plan for the general election! \n🍿 Free goodies + resources at each event — come through\, bring a friend\, and get election ready 💪 \nTUESDAY SEPTEMBER 15\, 2026:\n📍Bronx Community College\n10AM – 1PM\n2155 University Ave\, Bronx\, NY 10453 \n📍Flushing YMCA\n10AM – 1PM\n138-46 Northern Boulevard\, Flushing\, NY 11354 \n📍Sunset Park\n3PM – 6PM\n6th Avenue &\, 44th St\, Brooklyn\, NY 11232 \n📍Patel Brothers\n5PM – 7:30PM\n37-27 74th St.\, Jackson Heights\, NY 11372 \nFRIDAY\, SEPTEMBER 18\, 2026\n📍Southern District Courthouse\n10:30AM – 12:30PM\n500 Pearl St\, New York\, NY 10007\, USA \nJoin us and #GetOutTheVote !
URL:https://potluckasianamerica.org/event/national-voter-registration-day/
LOCATION:Multiple NYC locations
CATEGORIES:Voting
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/APA-Vote-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260916
DTEND;VALUE=DATE:20260920
DTSTAMP:20260903T054228Z
CREATED:20260902T220413Z
LAST-MODIFIED:20260903T054228Z
UID:10003298-1789516800-1789862399@potluckasianamerica.org
SUMMARY:Mom and I Go To The Temple
DESCRIPTION:Mom and I Go To The Temple — a one-man show by Michael Tay \n“Mom said we were just taking a simple trip to a temple hidden in the mountains of Malaysia.”\n“What she failed to mention was that this “temple” wasn’t quite what it seemed. As the journey grew stranger\, it became increasingly clear that mom knew far more than she was letting on – and that this wasn’t going to be a simple day of prayer.“\n“Based on a true story\, this is the tale of the most terrifying trip I’ve ever taken with my mother… and the reason I now ask a lot more questions before getting into the car.” \nContent Warning: suggestion of self harm \nFour nights only at The Tank (312 W 36th St)\, Sep 16-19\, 2026\, 9:30 PM\nTickets $20/$30/$40 in the intimate 56-seat theatre. \nBuy tickets → https://tickets.thetanknyc.org/EventAvailability?EventId=155801 \nAbout Michael:\nMichael Tay is a New York-based veteran screenwriter\, now making his NYC theater debut. A Columbia University MFA graduate in Screenwriting and Sundance alum\, his short film “Wet Season” screened at Sundance and won the Special Jury Prize at the Singapore International Film Festival and the Linda Mabalot New Visions Award. His TV writing was a finalist at the New York Festivals TV & Film Awards\, and his feature screenplay The Damned was optioned and presented at the 2024 Cannes Film Market. Before relocating to New York\, he wrote for Singapore television. Mom and I Go to the Temple is his first time stepping into the spotlight himself – and bringing his mother along for the ride. \nMichael Tay (performer + writer) | Eunice Lau (Director) | Augustus Loi (Producer)
URL:https://potluckasianamerica.org/event/mom-and-i-go-to-the-temple/
LOCATION:The Tank Theatre\, 312 W. 36 Street\, New York\, NY\, 10018\, United States
CATEGORIES:Theater
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/Mom-and-I-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260916
DTEND;VALUE=DATE:20260927
DTSTAMP:20260818T215029Z
CREATED:20260805T044221Z
LAST-MODIFIED:20260818T215029Z
UID:10003004-1789516800-1790467199@potluckasianamerica.org
SUMMARY:The Cherry Orchard
DESCRIPTION:Considered one of the great plays of the modern era\, Anton Chekhov’s final play about a family on the edge of ruin is radically reimagined by acclaimed director and dramatist Simon Stone\, who returns to the Armory following his blistering Obie-Award winning take on Federico García Lorca’s Yerma (2018). His refreshing adaptation resets the action from Russia to a rapidly transforming modern-day Seoul\, South Korea\, where the original noble siblings are now corporate heirs struggling to adapt to a world that has moved on without them\, suffocated by a rising middle class and wealthy self-made entrepreneurs. Caught between the past and the present\, hope and despair\, tradition and innovation\, the chaebol family is forced to grapple with the inevitable forces of change. \nJeon Do-yeon is well-known for her roles in You Are My Sunshine (2005) and Secret Sunshine (2007)\, for which she was awarded Best Actress at the 60th Cannes Film Festival and making her the first Korean actor to receive such recognition. The talented actress stars alongside Emmy-nominated actor Park Hae-soo of worldwide Squid Game fame as well as a stellar all-Korean ensemble cast in spontaneous\, immediate performances. Equal parts tragedy and comedy\, the story unfolds on a masterfully designed set by celebrated architectural designer Saul Kim that features a modern\, transparent glass house allowing audiences a voyeuristic peek into the characters’ private lives. An intimate\, bittersweet portrait that is deeply South Korean and yet universally moving\, this must-see reinterpretation is a timely reflection of loss\, change\, and social transformation. \nTickets start at $45 (including fees) \n🎟️ Special Offer for KCCNY followers!\n✨ Save 10% on tickets for all performances\n🎫 Use promo code: CHERRYKCCNY\n⏰ Offer valid through 11:59 PM (ET) on August 21\, 2026. Standard ticketing fees apply. \n🗣️ Performed in Korean with English captions. \nPhoto credit: Studio AL\, LG Arts Center
URL:https://potluckasianamerica.org/event/the-cherry-orchard/
LOCATION:Park Avenue Armory\, 643 Park Avenue\, New York\, NY\, 10065\, United States
CATEGORIES:In Person,Theater
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260916
DTEND;VALUE=DATE:20261001
DTSTAMP:20260904T220910Z
CREATED:20260904T220737Z
LAST-MODIFIED:20260904T220910Z
UID:10003312-1789516800-1790812799@potluckasianamerica.org
SUMMARY:Tom Yum Week
DESCRIPTION:Something’s bubbling across New York 🌶️ \nTOM YUM WEEK\nSeptember 16–30\, 2026 \nA city-wide creative fest transforming Thai restaurants into creative spaces. Artists and creatives respond to special dishes\, signature food\, and drinks – creating multisensory experiences that go beyond the plate. \nEach collaboration takes a different form. \nSome live on the plate.\nSome on the wall.\nSome on a screen.\nSomewhere in between. \nOur first edition explores the theme YUM YUM YUM – inspired by the Thai idea of yum: to mix\, toss things around\, and somehow\, it usually comes together. \nYou can eat it.\nBut you might also watch it\, hear it\, read it\, or scan it. \nDifferent spots. Different mixes. One city-wide experiment. \n@charoenkrung_nyc\n@dockasianeatery\n@gigicurryandnoodlebar\n@godunknyc\n@katithaicuisinenyc\n@kru.bk\n@lalyn.nyc\n@luckybybar\n@narkaranyc\n@salathainyc\n@samyan.nyc\n@saolea.nyc\n@seathai_nyc\n@skyice_nyc\n@thaipavilion_nyc\n@vallatable\n@zabbputawn \nSeptember 16–30
URL:https://potluckasianamerica.org/event/tom-yum-week/
LOCATION:Multiple NYC locations
CATEGORIES:Food,Thai
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260917
DTEND;VALUE=DATE:20260919
DTSTAMP:20260902T020212Z
CREATED:20260810T002207Z
LAST-MODIFIED:20260902T020212Z
UID:10003049-1789603200-1789775999@potluckasianamerica.org
SUMMARY:MOCA PERFORMS – Three Lives
DESCRIPTION:THREE LIVES is an autobiographical solo show that follows Alex Xander Luu and his family’s escape from war-torn Saigon in 1975 to America. Journeying across continents and generations\, “Three Lives” presents the Vietnam War story through the eyes and experiences of its oft-forgotten casualty – – its refugees – – his father\, grandfather\, and Luu himself as their lives are violently uprooted and resettled in the “promised land.” With equal doses of laughter and heartbreak\, Three Lives combines humor\, kinetic physical movement\, and raw storytelling that peels back the layers of the standard Hollywood narrative of the Vietnam War and instead gives a front and center portrait of the equally comical and painful effects of assimilation\, the loss & reclaiming of identity\, and the strength of the human spirit. Coming on the heels of 2025’s 50th anniversary of the end of the Vietnam War\, Three Lives frames the personal immigrant narrative and its timeless themes against the universal backdrop of today’s fraught political climate. \nTime: 7:00 PM to 8:30 PM each day
URL:https://potluckasianamerica.org/event/moca-performs-three-lives/
LOCATION:Museum of Chinese in America (MOCA)\, 215 Centre Street\, New York\, NY\, 10013\, United States
CATEGORIES:Performance
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260917
DTEND;VALUE=DATE:20260919
DTSTAMP:20260721T100703Z
CREATED:20260721T100703Z
LAST-MODIFIED:20260721T100703Z
UID:10002923-1789603200-1789775999@potluckasianamerica.org
SUMMARY:3AF Fall Marketing Summit: The New Asian American Mainstream: Trust\, Culture\, and the Future of Growth
DESCRIPTION:3AF Fall Marketing Summit\, Sept. 17-18\, Marriott Marquis\, New York City \nJoin marketers\, agency leaders\, media professionals\, researchers\, brand innovators\, and community leaders for a timely conversation on The New Asian American Mainstream: Trust\, Culture\, and the Future of Growth. Brand speakers include China Airlines; Coca-Cola; Moet Hennessy; New York Life; Procter & Gamble; and Toyota. More will be announced soon! \nThe Summit will feature: \n\nKeynotes and featured conversations with industry leaders\nActionable insights on Asian consumer influence and growth opportunities\nPanels and case studies on culture\, media\, brand strategy\, and innovation\nNetworking with leaders shaping the future of Asian and multicultural marketing\nThe 3AF Excellence Awards dinner\, featuring brand new categories and honorees\n\nThe 3AF Fall Summit is the place to gain fresh perspectives\, build valuable connections\, and celebrate the work that is advancing the industry.
URL:https://potluckasianamerica.org/event/3af-fall-marketing-summit-the-new-asian-american-mainstream-trust-culture-and-the-future-of-growth/
LOCATION:New York Marriott Marquis\, 1535 Broadway\, New York\, NY\, 10036\, United States
CATEGORIES:Business,Conference,In Person
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260917
DTEND;VALUE=DATE:20260919
DTSTAMP:20260912T030356Z
CREATED:20260912T030145Z
LAST-MODIFIED:20260912T030356Z
UID:10003367-1789603200-1789775999@potluckasianamerica.org
SUMMARY:The Essence of Korean Ginseng: Exploring Wellness Through Fine Korean Cuisine
DESCRIPTION:The Korean Cultural Center New York (KCCNY)\, with special support from Geumsan County\, presents The Essence of Korean Ginseng: Exploring Wellness Through Fine Korean Cuisine\, a special culinary program celebrating one of Korea’s most treasured ingredients—Korean ginseng. \nFor centuries\, ginseng has held a special place in Korean food culture\, valued not only as a distinctive culinary ingredient but also as an important part of Korea’s long tradition of nourishment and well-being. This program invites participants to discover the heritage\, flavor\, and versatility of Korean ginseng while exploring how this time-honored ingredient continues to inspire Korean cuisine today. \nA Culinary Journey from Tradition to Contemporary Cuisine \nLed by guest instructor Chef Kiki\, the program will explore Korean ginseng through both traditional and contemporary culinary perspectives. \nThe program will feature Samgyetang (Ginseng Chicken Soup)\, one of Korea’s best-known traditional nourishing dishes. Traditionally enjoyed during the hottest days of summer\, samgyetang is prepared with a whole young chicken filled with ingredients such as glutinous rice\, garlic\, jujube\, and ginseng\, reflecting the Korean culinary philosophy of restoring energy and balance through food. \nAlongside this traditional dish\, Chef Kiki will introduce an original contemporary creation featuring Geumsan ginseng\, demonstrating how this deeply rooted Korean ingredient can be reimagined through modern culinary techniques and presentation. \nTogether\, the dishes will offer a journey from tradition to contemporary Korean cuisine\, highlighting the distinctive flavor\, cultural significance\, and creative possibilities of Korean ginseng. \n◾ DATE & TIME: Thursday\, September 17~Friday September 18\, 2026 @ 6 PM\n◾ VENUE: Bu-Eok at the Korean Cultural Center New York\n(122 E 32nd Street\, 4th Floor\, New York\, NY 10016)\n◾ ADMISSION: Free (Pre-registration required)\n   * Space is limited; advance registration is required.\n   * Due to limited capacity\, participants will be selected through a randomized lottery process.  \nChef Kiki (Kiran) Kim is a New York–based Executive Chef\, culinary creative\, and educator known for blending French culinary technique with Korean culinary philosophy. Born and raised in Korea\, she graduated from the Culinary Institute of America and refined her craft in Michelin-starred restaurants across the United States and France\, developing a style rooted in precision\, artistry\, and innovation. \nShe currently serves as Executive Chef at Virgin Hotels New York\, where she oversees multiple dining venues\, banquet operations\, and large-scale culinary events. Beyond the hotel\, Chef Kiki leads international pop-ups\, cultural collaborations\, and educational workshops that introduce Korean cuisine through a contemporary global perspective. \nThrough her signature project\, Art on the Table\, Chef Kiki creates immersive dining experiences where gastronomy and contemporary art intersect. By translating an artist’s vision into flavor\, texture\, presentation\, and storytelling\, she invites guests to experience food as a form of artistic expression. \nPassionate about cultural exchange\, Chef Kiki has collaborated with luxury brands\, cultural institutions\, and hospitality partners to showcase Korean ingredients through refined techniques and modern creativity. Her work continues to connect people through food\, art\, and storytelling while celebrating the evolving identity of Korean cuisine on the global stage.
URL:https://potluckasianamerica.org/event/the-essence-of-korean-ginseng-exploring-wellness-through-fine-korean-cuisine/
LOCATION:Korean Cultural Center New York\, 122 East 32nd Street\, New York\, NY\, 10016\, United States
CATEGORIES:Food
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260917
DTEND;VALUE=DATE:20260921
DTSTAMP:20260916T115139Z
CREATED:20260729T193510Z
LAST-MODIFIED:20260916T115139Z
UID:10002967-1789603200-1789948799@potluckasianamerica.org
SUMMARY:2026 Pacific Island Film Festival NYC
DESCRIPTION:Welcome to our 4th Pacific Island Film Festival New York. Experience the Pacific through powerful storytelling from Polynesia\, Micronesia\, and Melanesia. \nFrom award-winning films to emerging voices\, a celebration of the people\, cultures\, language and stories that connect our vast Moana to the heart of New York City. \nYou’re invited to discover wave-making Pacific Island filmmakers. Experience stories with us that inspire\, challenge\, and stay with you long after the credits roll. \nEvery ticket helps us continue creating space for Pacific stories to be seen\, celebrated\, and shared with the world.
URL:https://potluckasianamerica.org/event/2026-pacific-island-film-festival-nyc/
CATEGORIES:Festival,Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260917
DTEND;VALUE=DATE:20261018
DTSTAMP:20260818T233546Z
CREATED:20260818T233546Z
LAST-MODIFIED:20260818T233546Z
UID:10003124-1789603200-1792281599@potluckasianamerica.org
SUMMARY:Best by 07/21/2026
DESCRIPTION:A residency-then-exhibition Artists: Clare Hu\, Tianyi Sun\, and Shaan Ken Rao \n398 West Street\, New York\, NY 10014 Residency: July 21 – September 16\, 2026 Exhibition: September 17 – October 17\, 2026 Opening Reception with the artists: Thursday\, September 17\, 2026 | 6-8 PM \nEli Klein Gallery is pleased to present Best by 07/21/2026\, a residency-then-exhibition featuring artists Clare Hu\, Tianyi Sun\, and Shaan Ken Rao\, opening on its own expiration date. Following At-Will Adaptation (2024)\, the gallery’s residency program returns this year for its second installment\, running from July 21st and culminating in a three-artist exhibition on Thursday\, September 17th. The three artists\, working in various mediums such as sculpture\, weaving\, painting\, and photography\, will create entirely new bodies of work using Eli Klein Gallery as their studio. The gallery will be open to the public during normal business hours throughout the duration of the residency. \n“Can the concept of the human survive discovering how the “sausage” of us is actually made\, what we really look and smell like at the cellular level?” This question\, raised by the writer and scholar Sophie Lewis in her catalog essay “New Wombs for Old Men” of the New Museum’s inaugural exhibition “New Humans\,” challenges the default practice of separating the maker from their associated defecations during the formation of a public-facing identity. On a metaphorical and non-visceral level\, contemporary art’s birth-giving process today resembles an ectogenesis\, with the “sausage-making” process susceptible to both curated previews and packaged commercialization. An artist’s studio is only alive when it breathes and excretes\, and more so when the discarded substances are studied\, categorized\, archived\, and recycled.
URL:https://potluckasianamerica.org/event/best-by-07-21-2026/
LOCATION:Eli Klein\, 398 West Street\, New York\, NY\, 10014\, United States
CATEGORIES:Art,Art Exhibit
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260917
DTEND;VALUE=DATE:20261025
DTSTAMP:20260912T015055Z
CREATED:20260912T014818Z
LAST-MODIFIED:20260912T015055Z
UID:10003359-1789603200-1792886399@potluckasianamerica.org
SUMMARY:Tchah Sup Kim: The Key to a New World
DESCRIPTION:Tchah Sup Kim (1940–2022) was an artist whose lifelong practice explored fundamental questions of civilization\, the universe\, existence\, and humanity. Moving beyond formal experimentation\, his work sought new ways of seeing and understanding the world—often by challenging established boundaries between East and West\, the individual and the cosmos\, and the finite and the infinite. \nKim moved to New York in 1974 and studied printmaking at Pratt Institute\, where he began developing a distinctive visual language. His landmark etching Triangle Between Infinites (1976)\, now in the collection of The Museum of Modern Art\, New York\, introduced the triangle as a central motif in his practice. Rather than treating it as a closed geometric form\, Kim opened its vertex\, transforming the triangle into a structure of openness\, circulation\, and connection. \nThroughout the 1980s\, his work reflected his experiences of migration\, otherness\, and diasporic identity in New York. After returning to Korea in 1990\, his inquiry expanded toward broader questions of civilization\, history\, and the origins of humanity. \nNew York played a pivotal role in this artistic and intellectual journey. It was here that Kim encountered the center of Western modernism while also beginning to question its prevailing systems of thought. Presented now in New York\, The Key to a New World revisits that formative relationship and considers his practice through a contemporary lens. The exhibition title comes from a phrase found in one of Kim’s own notes. For him\, a “new world” was not simply a vision of the future\, but the possibility of thinking and seeing beyond existing frameworks. \n\nTuesday – Friday: 10 AM – 6 PM / Saturday: 11 AM – 5 PM\nClosed on Sunday and Monday.\n\n\n  \n\n\n\nAbout the Artist \n\n\n\n\n\n\nTchah Sup Kim received his BFA from Seoul National University in 1963. With a grant from John D. Rockefeller 3rd Fund Fellowship\, he completed his MFA at the Pratt Institute in New York in 1976. \nWorking primarily in paint and mixed media\, Kim explores the principles of cosmos through nature and its phenomena. He raises questions regarding the universal truth that human beings have sought in and out of history. His artistic journey can be divided into three major periods: from 1965 to 1982\, during his early years in Korea and New York\, his work is characterized by a focus on geometry; from 1983 to 1993\, during his New York period\, he turns toward geopolitical and historical themes; and from 1993 to 2022\, after leaving New York for the rural village of Naepyung-ri in Korea\, and later alternating between the two locations\, he focuses his work on geography and nature. \nTchah Sup Kim’s artwork is currently housed in the collections of many renowned institutions\, including the Museum of Modern Art (NY)\, the Metropolitan Museum of Art (NY)\, and the National Museum of Contemporary Art (Gwacheon\, Korea).
URL:https://potluckasianamerica.org/event/tchah-sup-kim-the-key-to-a-new-world/
LOCATION:Korean Cultural Center New York\, 122 East 32nd Street\, New York\, NY\, 10016\, United States
CATEGORIES:Art,Art Exhibit
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260917
DTEND;VALUE=DATE:20261205
DTSTAMP:20260902T221003Z
CREATED:20260902T220929Z
LAST-MODIFIED:20260902T221003Z
UID:10003299-1789603200-1796428799@potluckasianamerica.org
SUMMARY:Afterlayers: Tai Hwa Goh & Julia Kwon
DESCRIPTION:Opening reception: Thursday\, September 17\, 2026\, 5-7pm \nTwo artists transform traditional materials–textile and paper–to explore themes of identity and memory. Tai Hwa Goh creates intricate\, layered installations from printed and cut paper\, inspired by organic forms\, landscapes\, and the relationship between the interior and exterior. Goh’s process pushes the limits of traditional printmaking\, as she modifies the characteristics of paper and thin fabric by covering with batik or ironing thin sheets of beeswax onto her prints\, deliberately obscuring the underlying images. She then uses techniques like sewing\, gluing\, and manipulating printed materials to construct intricate\, honeycomb-like structures. Found objects seamlessly integrate into the work\, reflecting the blending of the personal and the universal\, as well as natural and artificial elements.Through this process\, the imagery gradually moves away from recognizable forms\, and the dense layers serve as a space where nature\, memory\, and personal experience intertwine. Her installations invite viewers to contemplate the balance between the natural world and human existence\, and how everyday moments can reveal deeper insights into our lives. \nJulia Kwon sews interpretive Korean textiles\, specifically in the form of patchwork bojagi (Korean object-wrapping cloth)\, to critique received notions of Asiatic femininity and challenge reductive\, easily legible identities. Although her bojagi textiles may initially be perceived as traditionally Korean\, the patchwork designs are actually derived from urgent contemporary sociopolitical issues and events. Her work moves beyond simply representing minority identities as she aims to comment on the interconnected systems of oppression. Kwon’s practice contests the notion of authenticity and explores the complexities involved in constructing identities within the current framework of cultural hybridity\, intersectionality\, and the collective pursuit of social justice \nThe Korea Society Gallery is open only by appointment.\nThe appointment must be made at least 24 hours prior to the scheduled visit. \nGallery Hours: Monday-Friday 10 AM-4:30 PM\nBy Appointment Only
URL:https://potluckasianamerica.org/event/afterlayers-tai-hwa-goh-julia-kwon/
LOCATION:The Korea Society\, 350 Madison Avenue\, 24th Floor\, New York\, NY\, 10017
CATEGORIES:Art,Art Exhibit
ATTACH;FMTTYPE=image/jpeg:https://potluckasianamerica.org/wp-content/uploads/2026/09/fterlayers-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260917
DTEND;VALUE=DATE:20270401
DTSTAMP:20260911T234039Z
CREATED:20260911T234039Z
LAST-MODIFIED:20260911T234039Z
UID:10003349-1789603200-1806537599@potluckasianamerica.org
SUMMARY:Zine* Together
DESCRIPTION:Please join Asia Art Archive in America on Thursday\, September 17th from 5-8pm for the opening reception of their exhibition\, Zine﹡ Together. \nZine﹡ Together is the first exhibition of its kind to examine Asian American zines not only as objects\, but as actions—creative\, collective\, and relational. Drawing from Asia Art Archive in America’s Reading Room collection\, this exhibition highlights collaboratively produced zines from 2010 to the present\, alongside newly commissioned projects and prompts that trace zine-making as a mode of shared authorship and community building. \nIn the 1960s and 1970s\, zines (short for “magazines” or “fan-zines”) were characterized by their photo-copied\, staple-bound formats and emerged as popular do-it-yourself platforms for sharing counter-cultural socio-political programs and avant-garde art practice. In more recent decades and particularly in Asian American communities\, zines have served as a place to explore artistic narratives\, diasporic histories\, and collective responses to marginalization. \nKey to this exhibition is a commissioned research project and essay by Michelle Yee\, PhD\, and Elizabeth Chung that investigates the recent history of Asian American zines in relation to the 2020 COVID-19 pandemic and the parallel rise in anti-Asian violence across the United States. Situating zine-making within this moment of crisis\, the research frames the medium as one of many grassroots strategies for care\, documentation\, and solidarity. Together\, the exhibition and research project position zines not as peripheral ephemera\, but as vital cultural tools that register and record how communities respond in times of uncertainty. \nZine﹡ Together\, itself a collaborative project\, is organized by Claire Kim\, Susanna Chang\, Sarula Bao\, Michelle Yee\, Elizabeth Chung\, Mary Y. Yang\, Chen Luo\, and Tasnima Tanzim.
URL:https://potluckasianamerica.org/event/zine-together/
LOCATION:Asia Art Archive in America\, 23 Cranberry Street\, Ground Floor\, Brooklyn\, NY\, 11201\, United States
CATEGORIES:Exhibition
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END:VCALENDAR