HONG KONG.- Art Intelligence Global will present “The Uncanny”, an exhibition opening on 21 March 2026 at Art Intelligence Global’s exhibition space in Hong Kong. Coinciding with Art Basel Hong Kong, the exhibition explores how artists render the familiar strangely unsettling. Assembling historic artworks by nine twentieth-century artists, “The Uncanny” interrogates the self as a site where desire, memory, and anxiety converge.

At the heart of the exhibition is Yayoi Kusama’s landmark Driving Image (1964-66). Initially exhibited as a three-part series staged at galleries in New York, Milan, and Essen between 1964- 66, key original elements – Infinity Net mannequins, furniture, kitchen crockery – are here reunited. The installation will be displayed alongside original video footage of a performance staged by Kusama in 1967, during which she painted live models in polka dots. Kusama’s household tableau vivant underscores the frequent experience of uncanny sensations in domestic spaces or through everyday objects. Exploring this further, the exhibition includes two significant early sculptures by the American artist Robert Gober. The eerie Dollhouse 4 (1978) stems from Gober’s very first series, while the dislocated form of Pitched Crib (1987) materializes the trauma that has haunted the artist since childhood. This will be one of the most significant presentations of Gober’s work in Asia to date.

A group of iconic assemblage sculptures by Salvador Dalí – including his renowned Vénus de Milo aux Tiroirs (1936/64) and Lobster Telephone (white aphrodisiac) (1938) – trace Surrealism’s early engagement with Sigmund Freud’s psychoanalysis of the uncanny. The Surrealists’ fetishization of the everyday is extended in Domenico Gnoli’s hyperreal representations of household furniture, exemplified here by an important canvas from the 1960s, the decade in which his mature style fully emerged.

The exhibition also assesses the uncanny as a critical tool, employed by writers and artists to address social and political anxieties. A towering anthropomorphic digital body by the pioneering video artist Nam June Paik blurs the boundary between human and machine, while key works by Louise Bourgeois, Sarah Lucas, Cindy Sherman, and Mike Kelley employ the artificial or grotesque to destabilize fixed notions of identity and gender.

Bringing together significant works by leading twentieth-century artists from major international private collections, “The Uncanny” demonstrates AIG’s commitment to presenting important secondary-market works in Hong Kong within a cohesive and informative curatorial framework.

Yuki Terase, Founder, Art Intelligence Global: “For our fourth March exhibition coinciding with Art Basel Hong Kong, we are delighted to present “The Uncanny” to local and international visitors. The theme of the uncanny fosters dialogue between a diverse range of artists, mediums, and subjects, inviting fresh reflections on major figures firmly established in the art historical canon. We are especially pleased to reassemble original elements from Yayoi Kusama’s Driving Image Show (1964-66), displayed for the first time in Hong Kong. The rebellious spirit of the installation compels and intrigues today as much as when it was first exhibited sixty years ago. We look forward to welcoming collectors and art lovers to this exhibition.”