Adrian Cheng is a leading figure in Hong Kong’s art world. In 2008 he founded K11, a property business dedicated to “cultural commerce”—and was responsible for developing the Victoria Dockside global art and cultural district, home to K11 MUSEA, on Hong Kong’s harbourfront. In 2010 he set up the K11 Art Foundation to support Asian contemporary artists. He also chairs the Mega Arts and Cultural Events (Mega ACE) Fund, a Hong Kong government initiative to support international and large-scale arts and cultural events in the city.
Ahead of this year’s Art Basel Hong Kong we asked Cheng what are the key trends in Hong Kong’s art scene to look out for.
The Art Newspaper: What are your thoughts on this year’s Art Basel Hong Kong and Art March? What are you most looking forward to?
Adrian Cheng: March and April represent the pinnacle of our cultural calendar. The government’s Hong Kong Mega 8 initiative brings together world-class events—from Art Basel and Art Central to ComplexCon and the Hong Kong Sevens. This powerful synergy across art, sports and pop culture transforms the entire city into an extended exhibition space.
Beyond the fairs, our ecosystem is supported by incredible momentum from major auction houses—including Sotheby’s, Christie’s, Phillips and Poly Auction, which is presenting major spring sales of Chinese antiquities and modern masterpieces. We are also seeing a wave of new gallery openings, such as Shanghai-based Antenna Space expanding to Wong Chuk Hang, alongside 32 galleries participating at Art Basel for the first time.
I am particularly excited by the calibre of international artists showing across the city. We have Mary Weatherford’s luminous neon paintings at Gagosian, Nicole Eisenman’s intimate scenes at Hauser & Wirth, and El Anatsui is making his Hong Kong debut with monumental bottle-cap installations at White Cube. This concentration of high-quality programming is drawing a truly global audience from the US, Europe and across Asia.
What developments in the Hong Kong art scene are you watching this year?
A compelling shift this year is the rapid maturation of the digital art landscape. We are seeing a surge in tech-driven programming, exemplified by Art Basel’s Zero 10 initiative making its Asia debut, bringing digital era art directly onto the main show floor.
The “great wealth transfer” is bringing a growing cohort of millennial and Gen Z collectors into the market, many emerging from the technology and fintech sectors. We are also seeing a strong pivot toward intra-regional buying, with collectors from Korea, Japan, and Southeast Asia actively participating in the Hong Kong market.
I see more collectors holding hybrid portfolios that combine physical works with digital editions. These individuals prioritise digital provenance, interactivity and algorithmic code, encouraging institutions to embrace more innovative ways of presenting art.
What has the Mega ACE Fund been up to this year? What projects should we keep an eye out for?
The Mega Arts and Cultural Events Fund operates with a careful mandate to nurture a balanced cultural ecosystem. Since its inception, we have thoughtfully evaluated and approved funding for over 20 diverse projects, representing a commitment of nearly HK$200m [$26m] to the city’s creative sectors.
With the fund’s backing, the 11th edition of Art Central expanded significantly, bringing together 117 leading galleries and over 500 artists. We supported major public programmes, such as Kaitlyn Hau’s Recursive Feedback Ritual 0.01 and the Yi Tai waterfront installations, strengthening Hong Kong’s curatorial voice globally.
We also support dynamic platforms like the third edition of ComplexCon, which featured over 100 international brands and 30 world-class performances—including Yeat and BLACKPINK’s Jennie. By strategically backing these varied initiatives, we stimulate the broader “mega event economy”, driving positive spillover effects for tourism and local retail.
How has the fund adjusted alongside the journey to evolve from its early years? How do you strike a balance between critical value and crowd appeal?
Over the years, the fund has evolved from reactive event sponsorship to a more proactive role in building cultural “soft infrastructure”. We view culture not merely as decoration, but as a core driver of urban growth. We now think holistically about how each supported event contributes to the broader ecosystem and strengthens Hong Kong’s international cultural diplomacy.
I believe critical value and crowd appeal are not in tension—they are mutually reinforcing. Large-scale events with broad public appeal help democratise access to art, drawing new audiences into the fold, while providing the platform and resources for more niche, critically rigorous programming to thrive.
From Art Central’s contemporary depth to ComplexCon’s pop-culture resonance, Hong Kong tells its cultural story with diversity and openness. Because of our vibrant ecosystem, Hong Kong’s “Super March” is not just a momentary event but a sustained energy, showing the world that Hong Kong is a city of boundless creativity.
