That’s GBA, « Talking Arts: Unveiling the Poetic Prints of Zao Wou-Ki at M+ »

In the heart of Hong Kong’s West Kowloon Cultural District, where the fusion of East and West comes alive in contemporary visual culture, M+ has opened its doors to a groundbreaking exhibition that shines a spotlight on one of the 20th century’s most influential abstract artists. 

Zao Wou-Ki: Master Printmaker, which debuted on December 13, 2025, marks Asia’s first major retrospective dedicated solely to the French-Chinese master’s printmaking oeuvre. 

As we step into 2026, with the show running until May 3, it’s a timely invitation to explore how Zao Wou-Ki (1920–2013) bridged cultural divides through the playful yet profound medium of prints.

Born in Beijing and raised in Shanghai, Zao’s early life was steeped in Chinese calligraphy and painting, studying at the Hangzhou School of Fine Arts under pioneers like Lin Fengmian. 

Born in Beijing and raised in Shanghai, Zao’s early life was steeped in Chinese calligraphy and painting, studying at the Hangzhou School of Fine Arts under pioneers like Lin Fengmian. 

His move to Paris in 1948, at the age of 28, marked a pivotal shift, immersing him in the post-war European art scene alongside figures like Alberto Giacometti and Henri Michaux.

It was here that Zao discovered lithography and etching, describing printmaking as “almost like a game” – unpredictable and liberating compared to oil painting. 

This exhibition, co-curated by M+ and the Fondation Zao Wou-Ki, draws from a generous donation by his widow, Françoise Marquet, featuring nearly 180 works from the M+ Collection, including prints, illustrated books, and archival materials.

The show is thoughtfully divided into three chronological sections, tracing Zao’s evolution from tentative experiments to masterful abstraction. 

‘Encountering Printmaking’ delves into his Paris arrival, where woodcut roots from China met new techniques like lithography. 

Highlights include early works that echo his youthful ink studies, blending bold lines with vibrant colors. 

Moving to ‘Towards Abstraction’, visitors witness Zao’s decisive pivot in the 1950s, influenced by Paul Klee and Abstract Expressionists during his U.S. travels.

Proficient in drypoint, sugar-lift, and aquatint, his prints capture nature’s primal forces and inner fantasies, as seen in pieces like Henri Michaux’s Reading of Eight Lithographs by Zao Wou-Ki (1950).

Finally, ‘Freedom of Expression’ showcases his late-career synthesis from the 1970s onward, post his return to China and rediscovery of ink painting. 

These works embody Taoist harmony, with fluid compositions and brighter palettes that transcend boundaries. Three extension stories add depth: one on printmaking tools, another on Zao’s global collaborations (think poets like René Char and André Malraux), and a third on the interplay of poetry and imagery.

What makes this retrospective resonate today is Zao’s enduring legacy as a cross-cultural bridge. 

Naturalized French in 1964 with Malraux’s help, honored with the Legion of Honour, and elected to the Académie des Beaux-Arts in 2002, Zao’s art fused Chinese philosophy with Western abstraction. 

His visits to Hong Kong in the 1950s–60s, explored in the opening talk ‘Zao Wou-Ki: Journeys to Hong Kong’, underscore the city’s role in his journey. 

As M+ Museum Director Suhanya Raffel notes, “This exhibition reiterates M+’s commitment to fostering cross-cultural dialogue.”

For art enthusiasts, the public programs are a highlight. 

Drop into the Printmaking Open Studio on weekends from late January for hands-on creation, or join Family Days and the Easter Creative Kids Camp. 

Curator-led tours offer insider anecdotes, while youth workshops transform travel memories into abstract prints. 

Step into M+ and let Zao’s prints draw you into his abstract world, where lines and colors become a subtle reflection of dual heritages. 

As Zao himself reflected, 

“Everyone is bound by a tradition; I am bound by two.” 

What might you discover in the interplay of those traditions?

[All images courtesy of M+ Museum]