Art Basel Hong Kong 2026: 3C25

For our inaugural presentation at Art Basel Hong Kong, Uffner & Liu presents new and recent works by Anne Buckwalter, Sheree Hovsepian, Arghavan Khosravi, Talia Levitt, Joshua Petker, and Curtis Talwst Santiago. The booth is centered on the body in disguise, exploring figuration through distortion, masking, and fragmentation. Anchored by new works from Arghavan Khosravi, Talia Levitt, and Curtis Talwst Santiago, the presentation highlights bodies rendered elusive—shaped by myth, material, and memory. From Khosravi’s sculptural paintings to Santiago’s miniature dioramas to Levitt’s trompe l’oeil tapestries, each artist reimagines the figure as a site of transformation. 

Debuting at the fair is Arghavan Khosravi’s Threaded Silence (2026), a sculptural painting that juxtaposes symbols of warfare with a delicately rendered female portrait, creating a striking meditation on feminine agency, power, and historical violence. A sleek missile occupies the right side of the composition, its rising plume of smoke partially obscuring the face of the female figure. Known for weaving Persian motifs with Surrealist iconography, Khosravi addresses themes of censorship, gender, and cultural displacement. Looking ahead, Khoravi will have a solo exhibition at Uffner & Liu in May 2026. 

Talia Levitt presents Curio with Mother and Child (2025) and Storyteller (2025), continuing her exploration of motherhood and daily life through multilayered paintings that resemble woven quilts. Built through layered imagery, incised grids, and piped paint that mimics stitching, Levitt’s richly textured surfaces blur the boundary between painting and textile while embedding autobiographical narratives within the composition. Parallel to the fair, Levitt’s work is currently on view at the Jewish Museum, New York.

Furthermore, the presentation explores feminist perspectives through works by Anne Buckwalter and Sheree Hovsepian. Buckwalter’s intimate paintings reclaim the agency of the female body through enigmatic domestic interiors populated by garments, furniture, and personal objects. Drawing from the folk traditions of her Pennsylvania Dutch heritage, her compositions explore intimacy, gender roles, and the symbolism of the home. Hovsepian’s meticulously crafted assemblages combine photography, collage, and ceramic to foreground the materiality of image-making in the digital age. Produced through analog processes in the studio and darkroom, her compositions integrate silver gelatin prints with materials such as ceramic, string, and linen, collapsing distinctions between photography and relief sculpture. 

Also on view is Curtis Talwst Santiago’s sculpture Dingolay FC, Dance Through the Defence (2025), part of a new body of work that brings sport—specifically soccer—into the artist’s conceptual framework. The figure, clad in a textured, armor-like costume and captured mid-stride, evokes the choreography of the game while drawing on the celebratory spirit of Caribbean carnival and performance. Known for his narrative-driven sculptures and intricate dioramas, Santiago translates the movement, spectacle, and ritual of sport into sculptural form, reflecting on themes of endurance, identity, and collective experience.

Finally, Joshua Petker presents new paintings including The Fruitseller (2026), which continue his exploration of contemporary figuration through layered surfaces and vivid color. Here, Petker brings together distinct artistic styles and historical references within a single composition, drawing loosely from sources that range from Mannerist painting to modern visual culture. The resulting scenes—populated by figures, objects, and symbolic motifs—transform familiar encounters into dreamlike tableaux that blur the boundaries between memory, history, and imagination.