White Cube at Art Basel Hong Kong 2026

White Cube returns to Art Basel Hong Kong for the 2026 edition, presenting works by El Anatsui, Antony Gormley, Cai Guo-Qiang, Beatriz Milhazes, Emmi Whitehorse, among others.

Booth highlights: 

For the first time, El Anatsui places equal emphasis on the recto and verso of his elaborate sculptures made from salvaged bottle caps. Featured on the booth, Untitled 1 (2025) is part of a new series debuted at White Cube’s concurrent solo exhibitions of Anatsui’s work in Hong Kong (25 March – 9 May 2026) and Seoul (18 March – 18 April 2026). The artist last exhibited in Asia in 2024, at the Museum of Art Pudong, Shanghai.

Father Sky meets Mother Earth (2025), a new painting by Emmi Whitehorse, who joined White Cube in March. Whitehorse is known for her vibrant and poetic landscapes inspired by the unique topography of the American Southwest and her Navajo heritage.

Cai Guo-Qiang's Study of Medieval No. 5 (2020), a signature gunpowder painting by the artist. The idea for the work was developed during a period of in-depth study of the Middle Ages, in dialogue with the curatorial team of the Department of Medieval Art at the Metropolitan Museum of Art, New York.

Plane (2025), a solid cast iron ‘Slabwork’ sculpture by Antony Gormley. The artist has described this series of works as ‘strong but open, vulnerable but alert. Singular bodies that stand for the collective body and the shared built world.’

Beatriz Milhazes’s Happy Dreams (2025), a painting developed from the artist’s research into prints and textiles at the Victoria and Albert Museum, London. Rooted in a distinctly Brazilian modernist sensibility of hybridisation and absorption, the series draws upon sources that trace the psychedelia of 1960s and ’70s Flower Power imagery, Edo-period printmaking and European and Brazilian folk design.

Josiah McElheny’s Late Emergence III (2026), a new sculpture reminiscent of his historic experimentation uniting the Lobmeyr-designed chandeliers in New York’s Metropolitan Opera and vivid diagrams of the Big Bang. The design of these chandeliers and the discovery of the first data supporting the Big Bang both occurred in 1965. McElheny sees the confluence of these two events as representative of a time when our understanding of modernity started to fall apart, to be replaced by a new set of narratives.