DALLAS, TX.- Nearly five months after the Crow Museum of Asian Art unveiled its second location on The University of Texas at Dallas (UT Dallas) campus, the museum is announcing its 2025 winter/spring season, packed with new exhibitions, interactive workshops, educational experiences and captivating multimedia performances. Visitors can explore a range of Asian artistic expressions including engaging installations, hands-on activities and events for all ages – from art enthusiasts and families to anyone seeking to broaden their cultural understanding.

Highlights include the debut of an immersive multimedia installation – Saya Woolfalk’s Floating World of the Quilted Cloud – opening March 8 at the UT Dallas museum, alongside three compelling exhibitions opening April 5 at the Dallas Arts District location. Additionally, the museum is offering a range of interactive programs, from Saturday drop-in tours to a performance of Kinmakers: Hidden Songs in Our Mother's Dreams, curator lectures and hands-on workshops like Shibori dyeing with designer Mili Suleman.

With its many offerings, the Crow Museum promises an unforgettable celebration of Asian culture that invite guests to explore, learn and connect. Below is the list of events, exhibitions and programs happening at the Crow Museum of Asian Art:

Saya Woolfalk: Floating World of the Quilted Cloud
March 8-Sept. 7, 2025
UT Dallas museum, Multimedia Gallery 5 (800 W. Campbell Road, Richardson, TX 75080)

Over the span of 20 years, Saya Woolfalk has undertaken the project of world-building in which a fictional race of women known as Empaths inhabit an Empathic Universe. In the Empath world, technology is coeval to the genetic and social interdependence of plant life with humans. Through this techno-genetic perspective, visitors engage in an alternative mode of being in which the Empaths, as a lived-in community, invite people to center the emotions of compassion, empathy and love. For this immersive installation of Cloud Quilt, Woolfalk created a dynamic interplay of symbols and imagery by drawing on her vast analog and digital archives of past projects. She also draws upon works from the Crow Museum’s vast collection. Demonstrating her practice of collage or quilting. Woolfalk’s world emphasizes the concept of duration, both as process and as measured time. Since Woolfalk situates the Cloud Quilt installation as an infinity loop, visitors engage in continuous and complex interactions and responses with the Empaths in a never-ending time scale. Visitors will become conscious of the importance of empathy through this endless temporality of Cloud Quilt.

Ancient Echoes, Modern Voices: The Crow Collection Goes Beyond
Through Aug. 25, 2025
UT Dallas museum (800 W. Campbell Road, Richardson, TX 75080)

The display features eight galleries showcasing hundreds of works, ranging from textiles and ceramics to sculptures and paintings, and includes an immersive multimedia installation. The galleries are not labeled according to the nation states of China, India or Japan. Instead, themes that elicit important stories of cross-cultural contact and that are vital to specific Asia’s communities are foregrounded. The artworks can be considered with these themes in mind or on their own. Through both vantage points, these artworks challenge visitors to contemplate and rethink their relationship to these objects compelling the questions of “what are the stories that are being narrated?” and “what stories are absent?” The galleries are co-conceived by Crow Museum senior director Amy Lewis Hofland, and by the museum’s curator, Dr. Natalia Di Pietrantonio, who was former assistant curator of South Asian art at the Seattle Art Museum. Exhibition design for the galleries was also provided by Morphosis, working in close collaboration with the museum team.

Cecilia Chiang: Don’t Tell Me What To Do
April 5, 2025-March 9, 2026
Dallas Arts District museum (2010 Flora St., Dallas, TX 75201)

Born in 1934, Cecilia Chu Chiang is a self-taught artist who operates beyond the confines of the traditional artistic canon, expressing her spontaneity and creativity across a broad spectrum of media, including Chinese ink watercolors, oils, acrylics, ceramics, printmaking, textiles and collage. Possessing a whimsical and fluid artistic style, she celebrates color throughout. Her multi-disciplinary artwork is free from any constraints, open and brimming with personality, much like the artist herself. The artist’s practice spans an impressive 40 years, during which she has maintained a near-daily painting practice and art creation. In this exhibition, there is an abundance of art making and an abundance of joy.

Anila Quayyum Agha: Let One Bird Sing
April 5-Sept. 28, 2025
Dallas Arts District museum (2010 Flora St., Dallas, TX 75201)

“Give some tree the gift of green again. Let one bird sing.” Echoing the lines of Faiz Ahmed Faiz’s poem, Ek Din Yun Khizan Aa Gai (When Autumn Came), in this solo exhibition Anila Agha addresses the violence and destruction of natural environments such as plants, trees and entire ecosystems. In Faiz’s poem, the birds are a metaphor for the human condition and for the continual alienation of marginalized communities – their dreams disintegrating; their voices withering in their throats. Here, injustice perpetuated against the land stands in for the oppression of man. In a similar vein, the centerpiece of this exhibition is a laser-cut steel cube, Rainforest. The piece, which is its own room within a room, portrays a lush, tropical and immersive environment. A rainforest is typically cacophonous with the sound of many animals and birds. With the immediate threat of rainforest deforestation and the loss of avian habitats, birds are in the process of being silenced.

The Shogun’s World: Japanese Maps from the MacLean Collection
April 5-Oct. 5, 2025
Dallas Arts District museum (2010 Flora St., Dallas, TX 75201)

Several characteristics are unique to historical Japanese maps. First, only Japan created maps on ceramic plates. Second, Japan was willing to fully integrate European map-making techniques. These might include a grid of longitude and latitude, a compass rose – the circle or decorative device printed on a map showing the points of the compass, copperplate printing, or information taken directly from European maps or European-style land surveys. A third feature is the maps’ orientation. Some Japanese maps are labeled to the outer edge in all directions. In other words, they are created to be viewed from any side. No view is prioritized, which is likely a direct result of historically viewing maps on the floor. This worm’s-eye perspective means the viewer is meant to enter the map as if one is standing in the center and looking outwards in every direction.