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Canal Projects Canal Projects is a non-profit contemporary art institution dedicated to supporting forward-thinking international artists at pivotal moments in their careers.

CANAL PROJECTS is pleased to announce our support of the exhibition “Ha Chung-Hyun: Retrospective” at the Asian Art Muse...
09/25/2026

CANAL PROJECTS is pleased to announce our support of the exhibition “Ha Chung-Hyun: Retrospective” at the Asian Art Museum in San Francisco which opens today, September 25, 2026.

Ha is renowned as a prominent figure of the Dansaekhwa (monochrome) movement, an influential period in modern and contemporary Korean art history where artists employed restrained palettes and questioned the formal processes of painting by experimenting with the physicality of the paint and canvas. 

This major exhibition at the Asian Art Museum is the first North American retrospective for Ha and includes over 50 works spanning six decades of his career. 

In conversation with Andrew Russeth for the New York Times, Ha spoke about the origins of the Dansaekhwa movement and its lasting international influence. Recounting: “I never imagined that a time like this would come” commenting on the growth and institutional renown that the Dansaekhwa movement has seen over the last decade.

CANAL PROJECTS is proud to support innovative artists and institutions that expand global understandings of contemporary art practices. 

Image 1-7: Installation view of Ha Chong-Hyun- Retrospective, fall 2026. © Asian Art Museum of San Francisco. Photograph by Kevin Candland. 

Image 8: Ha Chong-Hyun in his studio. Photo by Chunho An.

CANAL PROJECTS is thrilled to announce the CANAL PROJECTS Fellowship Fund in Korean Art at the New York University Insti...
07/10/2026

CANAL PROJECTS is thrilled to announce the CANAL PROJECTS Fellowship Fund in Korean Art at the New York University Institute of Fine Arts, dedicated to supporting PhD students at NYU IFA conducting original research in Korean art history.

The fellowship addresses a critical need for sustained institutional funding by providing doctoral candidates with resources for archival, object-based, and interdisciplinary research on historically underexplored topics. By investing in emerging scholars, the fellowship aims to cultivate the next generation of museum curators, professors, and cultural leaders while advancing global scholarship of Korean art history and re-writing traditional art historical narratives.

Further information regarding the fellowship application timeline and eligibility requirements for IFA doctoral candidates will be released in the upcoming academic term.

Link in bio for more information.

Image: NYU’s Institute of Fine Arts, James B. Duke House, N.L. Roberts

For her contribution to “Liberation Space: Fortress/Nest” at the Korean Pavilion, Hyeree Ro presents “Bearing”, an immer...
06/24/2026

For her contribution to “Liberation Space: Fortress/Nest” at the Korean Pavilion, Hyeree Ro presents “Bearing”, an immersive installation composed of nearly 4,000 hand-stitched organza circles coated in beeswax. Forming a translucent, nest-like structure, the work guides visitors through eight stations dedicated to essential acts of life: mourning, remembering, observing, living, waiting, planning, sharing, and repairing.

Drawing on the multiple meanings of its title: to endure, support, change direction, bear fruit, and give birth, “Bearing” considers liberation not as a singular historical event, but as an ongoing process sustained through collective care and resilience. In the artist’s words: “Liberation does not happen once. You have to keep practicing it. Just because you swept the floor yesterday does not mean it will be clean today.” (Observer, 2026)

Visitors familiar with Ro’s exhibition “Niro” at Canal Projects will recognize her signature use of handmade wooden structures, ceramic sculptures as well as her visual language of abstraction and ambiguity which leaves room for a multitude of stories and meaning to be held within the work. In dialogue with the exhibition’s focus on Korea’s “Liberation Space” (1945–1948), Ro employs abstraction to create a space that can hold a multitude of feelings, inviting reflection on healing and the continual reshaping of nationhood.

The Canal Projects Fund is proud to have supported “Bearing” which marks a major milestone in Hyeree’s career. If your summer plans take you to Venice, be sure to visit the Korea Pavillion.

Images 1-3 Hyeree Ro,”Bearing,” 2026. Installation view of presentation in Liberation Space: Fortress/Nest. Photo by Donghwan Kam.

Image 4: Hyeree Ro, “Bearing, Remembering Station,” 2026. Installation view of presentation in Liberation Space: Fortress/Nest. Photo by Donghwan Kam.

🎉We are proud to announce that Canal Projects Artist Alumni Sin Wai Kin 單Sin 慧Wai 乾Kin is featured in Art21’s Art21 12th...
06/12/2026

🎉We are proud to announce that Canal Projects Artist Alumni Sin Wai Kin 單Sin 慧Wai 乾Kin is featured in Art21’s Art21 12th Season of “Art in the 21st Century.” The episode, “Human Nature, which features fellow artists Lenka Clayton, Josh Kline, Delcy Morelos, explores what it means to be human through our connections to society, the environment and each other.

🎥Throughout their cinematic universe, Wai Kin reminds us that storytelling is a tool for building new perspectives, allowing us to imagine different worlds and question the construction of reality.

Watch closely to see the snippets of Wai Kin’s exhibition “The End Time!” from Canal Projects in 2025.

Link in bio to watch.

“The End Time!” was on view at Canal Projects January 30 - March 28, 2025. The film “The Time of Our Lives,” was initiated by Accelerator and co-produced with Kunsthall Trondheim, Canal Projects and Blindspot Gallery, and supported by Vince Guo.

Images 1-2: Production still from the “Art in the Twenty-First Century” Season 12 episode “Human Nature,” 2026. © Art21, Inc. 2026.

Image 3-4: Sin Wai Kin, “The End Time!,” Installation view, Canal Projects, 2025. Courtesy of Canal Projects. Photo by Izzy Leung.

In 2026, Canal Projects provided support for Hyeree Ro’s “Bearing” exhibition as a part of the Korean Pavilion at the 61...
05/29/2026

In 2026, Canal Projects provided support for Hyeree Ro’s “Bearing” exhibition as a part of the Korean Pavilion at the 61st Venice Biennale and Ayoung Kim’s “Ayoung Kim: Delivery Dancer Codex” at MoMA PS1.

Image 1: Hyeree Ro, “Bearing,” 2026. Installation view of presentation in “Liberation Space: Fortress/Nest” at Venice Biennale, from May 5, 2026 through November 22, 2026. Photo by Donghwan Kam.

Image 2: Installation view of “Ayoung Kim: Delivery Dancer Codex,” at MoMA PS1 from November 6, 2025, through March 16, 2026. Courtesy MoMA PS1. Photo by Roz Akin.

On May 26, 2026, Canal Projects closed its physical doors and officially entered its second phase to focus on funding an...
05/28/2026

On May 26, 2026, Canal Projects closed its physical doors and officially entered its second phase to focus on funding and grant-making. Canal Projects will create pathways for long-term impact and representation within the arts community through three key initiatives: 1) PhD Fellowships in Korean Art History and Korean American Art History, 2) Curatorial Fellowships, and 3) Exhibition Sponsorships.

We are grateful to the more than 25,000 guests who visited CP at 351 Canal Street. In just four years as an exhibition space, Canal Projects presented 19 exhibitions, hosted five library residencies, published eight digital catalogues, and produced dozens of public programs. Working closely with artists, writers, and artistic collaborators, we developed ambitious, thought-provoking projects and have been proud to collaborate with some of the most compelling contemporary artists and practitioners of our time.

We remain grounded in our mission to support innovative artists and practitioners, and we look forward to stepping into this next chapter with our community.

Stay tuned for more information.

As we wrap up our Winter/Spring 2026 season, we’d like to thank all of the artists, speakers, and collaborators who help...
05/22/2026

As we wrap up our Winter/Spring 2026 season, we’d like to thank all of the artists, speakers, and collaborators who helped shape our public programs, along with everyone who joined us and made these gatherings meaningful. ❤️‍🔥

We have hosted artist talks, film screenings, collective readings, writing workshops, PechaKucha lectures, performances, late nights, and six embroidery workshops as a part of Jakkai Siributr’s exhibition, “There’s no Place.”

We are grateful to our community for bringing your generosity and curiosity to our space! 🤗

🎙️Opening reception + In Conversation: Jakkai Siributr and Amy George (January 2026. Images 1-4. Photos by Rosemary Haynes)

🎸Die Without Makeup Live Without Fear with Natalia Catalan (February 2026. Image 5. Photo by Matthew Li)

🍐Canal Janchi 잔치 1&2 with Christina Yuna Ko, Cassandra Mayela Allen, Jeenho Seo, Hai-Wen Lin, Martina Cox, Joiri Minaya and Azita Moradkhani (February & May 2026. Image 6-9. Photo by Caroline Taylor Shehan)

🎥Realms of the Real Screening & Celebration of Hyeree Ro in collaboration with Art21 (March 2026. Image 10. Photo by Caroline Taylor Shehan)

📖Weave in Weave Out, reading + somatic workshop with SoRA, led by Haena Chu and Kathleen Quaintance (April 2026. Images 11-12. Photo by Maeve Kydd)
Winter Art Night & Tribeca Gallery Night (February & May 2026. Photo by Caroline Taylor Shehan)

🧵There’s no Place embroidery workshops (January–May 2026. Images 12-17. -Photo by Walter Wlodarczyk and Pratya Jankong)

Two weeks left to view Jakkai Siributr’s, “There’s no Place” here at Canal Projects.🌸🪡🌸🪡In his “Matrilineal” series, Sir...
05/09/2026

Two weeks left to view Jakkai Siributr’s, “There’s no Place” here at Canal Projects.
🌸🪡🌸🪡
In his “Matrilineal” series, Siributr focuses on his own family, marking a shift in his practice from an examination of larger socio-political issues to intimate family stories.

“Matrilineal” includes five individual pieces, each representing one of the five important women in his life who have passed on. Composed on antique Indian textiles, the pieces contain figurative depictions of his family members along with symbolic imagery such as their favorite flowers, animals, and patterns, rendered in intricate embroidery and beadwork.

The center panel, however, is devoid of the metallic threads and glittering beads like the other four panels. Instead Siributr transmutes the memory of his grandmother through a section of a Tanka prayer rug that used to hang in her house.

The images of warplanes and bombs, houses, and ships that appear on these works allude to the major historical events these women experienced through the 20th and 21st centuries, including Thailand’s transition from a monarchy to a constitutional monarchy, World War II and the Japanese occupation, student protests, and several military coup d’états.

Be sure to stop by Canal Projects to see these intricately detailed and captivating pieces as well as Jakkai Siributr’s entire exhibition, “There’s no Place,” in the last two weeks on view.

There’s no Place” Jakkai Siributr January 30 - May 23, 2026

Photos by Prayta Jankong

There’s no Place Embroidery Workshop #4Tuesday, May 19, 20266–7:30PMFree RSVP at link in bio.We invite you to join us f...
04/30/2026

There’s no Place Embroidery Workshop #4
Tuesday, May 19, 2026
6–7:30PM
Free RSVP at link in bio.

We invite you to join us for the fourth and final There’s no Place embroidery workshop on Tuesday, May 19.

There’s no Place is the collective embroidery installation suspended across the ceiling and windows along Wooster Street side of Canal Projects. The project began in 2019, when Jakkai Siributr commissioned embroidered panels from displaced Shan youths living in Thailand’s Koung Jor Shan Refugee Camp, prompting them to reflect on home, identity, daily life, and future aspirations.

The There’s no Place embroidery workshops invite New Yorkers to contribute to the original panels, activating a cross-border, multigenerational dialogue through collective sewing. The panels our New York community has worked on since February will be added to the installation during its next presentation, continuing There’s no Place as a cumulative and communal embroidered archive of storytelling.

Workshops will run approximately 1.5 hours long and will include a brief introduction to embroidery, followed by time for each participant to embroider their own small panel. All experience levels are welcome and no prior knowledge of embroidery is required.

Come join us for an evening of embroidery, conversation and connection, led by local artist Raluca Vlad.

Practical Information:

This event will be hosted in our ground level gallery, which is accessed by a small flight of stairs or an ADA accessible lift. Please reach out to [email protected] with any questions.

We will send out a confirmation email a few days before the workshop, please respond to confirm your spot so we can offer any openings to those waitlisted.

Photos by Pratya Jankong

🗓️There is one month left to view Jakkai Siributr’s textile installations examining Thailand’s political and social hist...
04/23/2026

🗓️There is one month left to view Jakkai Siributr’s textile installations examining Thailand’s political and social histories in connection to the artist’s personal history.

🔎Let’s take a closer look at the centerpiece of the exhibition, “Broadlands”:

In “Broadlands,” Siributr repurposes his mother’s clothing following her passing, reinterpreting these material objects inherited through loss as garments that hold the memory of his mother’s life.

The strands of pearls draped and strung throughout “Broadlands” reference a formative story from his mother’s life. At thirteen, she accompanied members of her family to England to visit Thai King Rama VII, where he lived following his abdication after Thailand’s transition to a constitutional monarchy. While in England, she attended a gala at Broadlands estate as part of the royal entourage wearing a string of pearl necklace. Finding herself in a new and unfamiliar environment Siributr’s mother was nervously fiddling with the necklace until the necklace broke, drawing undesired attention to herself.

In “Broadlands,” Siributr gives form to these intimate stories, utilizing garments, jewelry, and familial textiles passed down through his matrilineal line to reflect on loss and resilience. Through these materials, he foregrounds the women in his life as active participants in political histories, tracing how their lived experiences contribute to broader narratives of national change.

Be sure to stop by Canal Projects to get a closer look at “Broadlands” as well as Jakkai Siributr’s entire exhibition “There’s no Place” in its final month of the exhibition.

🪡🌸🇹🇭

There’s no Place” Jakkai Siributr January 30 - May 23, 2026

Image 1-3: Jakkai Siributr, There’s no Place, Installation view, Canal Projects, 2026. Courtesy of Canal Projects. Photo by Izzy Leung

Image 3-5: Jakkai Siributr, There’s no Place, Canal Projects, 2026. Courtesy of Canal Projects. Photo by Pratya Jankong

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10013

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Tuesday 12pm - 6pm
Wednesday 12pm - 6pm
Thursday 12pm - 6pm
Friday 12pm - 6pm
Saturday 12pm - 6pm

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