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On Now: through December 19, 2026
Thucydides Fever Dream
Installation view: Thucydides Fever Dream. Hill Art Foundation, September 16–December 19, 2026 © Hill Art Foundation. Photo: Thomas Barratt
Installation view: Thucydides Fever Dream. Hill Art Foundation, September 16–December 19, 2026 © Hill Art Foundation. Photo: Thomas Barratt
Installation view: Thucydides Fever Dream. Hill Art Foundation, September 16–December 19, 2026 © Hill Art Foundation. Photo: Thomas Barratt
Installation view: Thucydides Fever Dream. Hill Art Foundation, September 16–December 19, 2026 © Hill Art Foundation. Photo: Thomas Barratt
Installation view: Thucydides Fever Dream. Hill Art Foundation, September 16–December 19, 2026 © Hill Art Foundation. Photo: Thomas Barratt
Installation view: Thucydides Fever Dream. Hill Art Foundation, September 16–December 19, 2026 © Hill Art Foundation. Photo: Thomas Barratt
Installation view: Thucydides Fever Dream. Hill Art Foundation, September 16–December 19, 2026 © Hill Art Foundation. Photo: Thomas Barratt
Installation view: Thucydides Fever Dream. Hill Art Foundation, September 16–December 19, 2026 © Hill Art Foundation. Photo: Thomas Barratt
Curated by Xin Wang, Thucydides Fever Dream traces the hallucinatory cadence of history as manifest in multiple facets of contemporary Chinese life, culture, and geopolitical relations, be it to the West (ancient and modern), the former Eastern bloc, Central Asia, or Africa. Just like this year’s improbable social media trend of Chinamaxxing, China’s recent fascination with Greco-Roman classics as both statecraft (Xi’s evocation of “Thucydides’s Trap” during Trump’s 2026 visit to Beijing) and vernacular metaphor (young people referring to adulting struggles as their “Odyssey era”) illustrates a perpetual dynamic, where any self-fashioning–and indeed self-knowledge–is forged through other(s), in porous and often adversarial relationships. Drawing from the Hill Art Foundation’s own collection that already constellates art-historical connections across space and time, the exhibition brings together loans as well as fresh debuts to invite collective speculations—not only on the trajectory of China, but also on what is shared, what is selectively remembered, and what resurfaces and haunts—ghosts and algorithms alike.
Hao Liang, Red Nose (part I), 2017, ink and color on silk, in 3 parts, 10 3/4 × 7 inches (27.4 × 17.7 cm) © Hao Liang. Courtesy Gagosian.
Artist List
Bernd and Hilla Becher
Chen Ronghui
Chen Xiangyun
Charles Clough
Thomas Crow / Yue Minjun
Cloris (Han) Dong
Duan Jianyu
Hao Liang
Li Songsong
Liu Chuang
Liu Wei
Liu Xiaodong
Lu Yang
Agnes Martin
Pan Caoyuan
Qiu Xiaofei
Ed Ruscha
Charles Simonds
Hiroshi Sugimoto
Sun Xun
Anthony van Dyck
Wang Guangle
Wang Ye
Andy Warhol
Christopher Wool
Wu Ziyang
Huidi Xiang
Yu Hong
Zhang Xiaogang
Zhao Yao
Duan Jianyu
Yúqiáo (The Fisherman and the Woodcutter) No. 20, 2024
Oil, acrylic, oil-based marker and oil pastel on canvas
70⅞ × 78 ¾ inches (180 × 200 cm)
Charles Simonds
photographs from the artist’s archive of him working on the streets of Shanghai and Guilin, 1980
Li Songsong
Ciao Ciao, 2022
Oil on canvas
59¹⁄₁₆ × 94 ½ inches (150 × 240 cm)
Andy Warhol
Lenin, 1986
Synthetic polymer paint and silkscreen ink on canvas
84 x 70 x 1 ½ inches (213.36 x 177.8 x 3.81 cm)
Ed Ruscha
Course of Empire, 2005
Lithograph
18 × 15 inches (45.7 × 38.1 cm)
Thomas Crow
Murder in the Rue Marat: A Case of Art in Revolution.
Princeton University Press, 2025.
Cover artwork: Yue Minjun, Death of Marat, 2002
Wang Ye
Manhattan B, 2021
Handmade silk embroidery
11 × 15⅜ inches (27.9 × 39.1 cm)
Liu Wei
Truth Dimension No. 19, 2016
Oil on canvas
86 ⅝ × 86 ⅝ inches (220 × 220 cm)
Wu Ziyang
New Silk Frequencies (still), 2026
Two channel color digital video with sound
5 minutes 13 seconds
Liu Xiaodong
Heavy Rain, 1993
Oil on canvas
56 ¼ × 72 inches (143 × 183 cm)
Yu Hong
Sleepwalking, 1993
Oil on canvas
65½ × 54 inches (166.5 × 137 cm)
Chen Ronghui
Hangzhou, PetroChemical China, 2013
Pigment print
32 × 32 inches (81.3 × 81.3 cm)
Bernd and Hilla Becher
Blast Furnace Head, HÖ 07, Lübeck-Herrenwych, Germany, 1983
Gelatin silver print
24⅜ × 20 inches (61.9 × 50.8 cm)
Wang Guangle
121101, 2012
Acrylic on canvas
110 ¼ x 70 ⅞ inches (280 x 180 cm)
Agnes Martin
Untitled, 1979
Watercolor and ink on paper
11 × 11 inches (27.9 × 27.9 cm)
Zhao Yao
A Few Ordinary Parallel Lines 23.S.06_313112 15,15,15,14,15,15,14,15,15,14;15,14,16,14,15,13,15,15,14,15;14,15,13,13,14,14,14,15,14,15;15,16,15,15,15, 2023
Eggshells, linen, soft gel (matte), carbon paper
8 ¼ × 11 ¾ × ¾ inches (21.1 × 29.9 × 2 cm)
Zhao Yao
A Few Ordinary Parallel Lines 24.S.04_571300 7,7,5,8,7,10,8,8,6,7;7,9,9,9,8,11,11,9,11,12; 11,11,10,11,9,9,9,9,11,11;10,10,10,11,10,9,11,11,10,8; 10,9,8,7,8, 2024
Eggshells, linen, soft gel (matte), carbon paper
8 ¼ × 11 ¾ × ¾ inches (21.2 × 29.9 × 2 cm)
Wang Guangle
Untitled 251130, 2025
Acrylic on canvas
44⅞ × 57½ inches (114 × 146.1 cm)
Charles Clough
Untitled, from the series: Small Clouds, 1977/2026
Inkjet print (cutout)
10 ⅛ × 7 ½ inches (25.7 × 19.1 cm)
Hiroshi Sugimoto
Red Sea, Safaga, 1999
Gelatin silver print
47 × 58⅝ inches (119.4 × 148.9 cm)
Liu Chuang
Wet Metal and Cotton Dance (still), 2025
Two-channel video, color, stereo
45 minutes
Wu Ziyang
Narrowband Lover (still), 2026
AI-generated color digital video with sound
Chen Xiangyun
A Rootless Tooth Belongs to No One, 2025
Artist’s book, MDF, pine, book pillow, photograph
5⅛ × 4¼ × 6 inches (13 × 10.8 × 15.2 cm)
Pan Caoyuan
Secluded Play 1 幽戲 1, 2023
Lacquer on wood panel: natural lacquer, mother-of-pearl, mica, and silver
15 ¾ x 11 ¾ x 1 ⅝ inches (40 x 30 x 4 cm)
Wang Ye
The Cristation, 2025
Handmade silk embroidery
25 ⅝ × 31 ½ inches (65 × 80 cm)
Lu Yang
DOKU: Yama Maya (still), 2026
4K video created with Unreal Engine
Original music by LuYang
Cloris (Han) Dong
I Am Your Mirror, 2025
Interactive installation with custom mirror display, custom software, camera, and microphone
Dimensions variable
Huidi Xiang
got no time to dilly-dally, 2024
3D-printed aluminum alloy, polyvinyl chloride, carbon fiber PET-G
113 × 18 × 5 inches (287 × 45.7 × 12.7 cm)
Zhang Xiaogang
illustrations for Antoine de Saint-Exupéry’s Le Petit Prince, adapted by Hua Yang, 1989
Sichuan Children’s Publishing House
Liu Wei
The Wasteland (Sculpture II), 2019
Aluminum, cement, wood, resin, and plaster
72 x 68 x 38 inches (182.9 x 172.7 x 96.5 cm)
Christopher Wool
Untitled, 1997
Enamel on paper
31 ¼ x 23 ¼ inches (79.4 x 59.1 cm)
Anthony van Dyck
Study of a Bearded Man, 1618
Oil on panel
11 ⅝ × 8 ⅞ inches (29.5 × 22.5cm)
Hao Liang
Red Nose, 2017
Triptych; Ink and color on silk
Part 1 of 3: 10 ¾ × 7 inches (27.3 × 17.8 cm); Part 2 of 3: 9 ⅝ × 6 ¾ inches (24.4 × 17.1 cm); Part 3 of 3: 9 ½ × 6 ⅛ inches (24.1 × 15.6 cm)
Liu Wei
Frequency No. 6, 2011
Oil on canvas
78 ¾×118 ⅛ inches (200 × 299.7 cm)
Sun Xun
The Time Vivarium – 06, 2013
Ink and watercolor on paper
14 × 17 inches (35.6 × 43.2 cm)
Qiu Xiaofei
Heilongjiang Box, 2006
Color pen, glass marbles, artist’s book with inserts
8 ⅜ × 10 ⅞ × 1 ⅝ inches (21.3 × 27.6 × 4.1 cm)