Funny cause its true: Life with a gorgeous Tuxedo Cat

 

Brief Encounters: Actor, model and Personal Trainer James Wong's Fitness Routine

Multi-hyphenate James Wong [@jameswnc] is a multifaceted talent from London. Well, UK bred, Hong Kong based fit-fluencer: a successful model, actor, and certified personal trainer whose tips on wellness--be it physical, mental, diet, or emotional -- have helped him garner a fantastic following of fans, friends, haters and debaters. One doesn't rack up that many numbers without the odd misanthrope chiming in with his/her two cents...  

Born and raised in London, he moved to Hong Kong where he built a prominent career in the wellness and entertainment industries. With over 150,000 Instagram followers [at last count], Wong shares his fitness journey, strength training routines, and lifestyle content, often highlighting his work at his gym that specialises in personal training.

Wong began his fitness path in 2012 and quickly became one of Hong Kong’s most sought-after trainers, models and actor--his commercials you can still find online. He emphasizes posterior chain workouts like deadlifts and adaptable routines that require minimal equipment. 
As a model and actor, he has appeared in campaigns and projects while maintaining a strong physique that appeals to both fitness enthusiasts and the fashion world. He is also recognized as a KOL (Key Opinion Leader) and influencer across the board with brand deals and partnerships that highlight, health, wellness with a shot of humour.
Now a family man with a wife and child, Wong continues to inspire through his posts on training, cardio, and balancing life. His approachable style and dedication make him a leading figure in Hong Kong’s fitness scene. 
Image courtesy of Sam AlliottWardrobe: Calvin Klein, CK jeansGrooming and MUA: Gloomy from KarenYiu.com

From Theatre Icon to Canvas: Lindsey McAlister’s Electrifying Art Central 2026 was Staged Beautifully. Pun Intended.

The founder of Hong Kong Youth Arts Foundation channels decades of stage energy into bold, spiritually charged paintings — and collectors are taking notice.

Words: P.Ramakrishnan
Images: Courtesy of the Artist. 

As the dust settles after the whirlwind of Hong Kong’s art fairs last week — Art Central, Art Basel, and Edible Art — where scale, spectacle, celebrity on occasion eclipses substance, it was a pleasure to run into Lindsey McAlister as she stood by her canvas, a quiet force of convergence. A prominent figure in the city’s theatre scene for more than three decades — founder of the Hong Kong Youth Arts Foundation, OBE recipient, and tireless champion of youth creativity — the young at art McAlister has, in recent years, unfurled a parallel life as a visual artist.

At 65, she playfully describes herself as an “older emerging artist,” a label she wears with defiant relish. Her paintings, alive with rhythmic colour, layered texture, and an almost performative pulse, translate the electricity of the stage into canvas.

Last week, at Art Central 2026, exhibiting with The Spectacle Group, McAlister found the fair’s energy particularly resonant. “It’s been an incredibly energising week… the best Art Central experience I’ve had,” she says. “This is my second year and I felt more relaxed! The fair had a real buzz, and being there with The Spectacle Group gave my work a beautiful platform to be seen, talked about and properly engaged with.” Collectors, curators, and visitors responded with striking enthusiasm.

Many lingered before her canvases, sensing the theatre in the paint. “People were very interested in the way my performing arts background feeds into the paintings,” McAlister notes, “how stage energy, movement and emotion are translated into colour, rhythm and texture on canvas.” Visitors often remarked that they could “feel” that live energy emanating from the work. Several collectors spoke of a deeper pull: “a sense of connection and ‘divine’ energy in the pieces, that idea of something larger linking all living things.”

For McAlister, the most profound validation came from those who left feeling transformed. “The most meaningful feedback came from visitors who said they felt uplifted after spending time with the work – that’s exactly the kind of impact I hope my practice can have.”

McAlister never abandoned theatre; she simply reopened a long-dormant channel. Trained at art school more than 40 years ago, she set painting aside as life filled with directing, youth work, and the beautiful chaos of productions. Then came a quiet pivot. “Two years ago, when I got Covid and was stuck at home, bored and restless, I picked up a paintbrush almost on a whim… and the moment I started, I remembered how much it made my heart sing!”

She describes the shift not as reinvention but reconnection. “Theatre will always be something I create; it’s like breathing for me. It was more like discovering a second creative channel that runs alongside it.” Now the practices nourish each other: stage movement and emotional storytelling surge onto the canvas in bold acrylic layers. Her technique favours speed and intuition. “My works are primarily acrylic on canvas rather than oil,” she explains. “Acrylic really suits my spontaneous way of working (and I am really impatient… so I need something that dries fast!). It lets me move quickly, layer intuitively!”

She works in a former classroom at “The Kungers,” a refurbished school-turned-community space in Sai Kung, where large-scale pieces can breathe and wait their turn for exhibition.

McAlister’s visual language draws from a rich lineage. Gustav Klimt remains a lodestar for his opulent patterning and emotional depth. “I’m drawn to his rich use of pattern, ornament and repeated motifs, and the way he balances decorative beauty with deep emotional intensity.” The Pop Art movement supplies bold colour and graphic immediacy, while Wassily Kandinsky and Abstract Expressionism shape her belief in colour and form as carriers of spiritual vibration — echoing her fascination with an unseen “divine energy” that binds all living things.

A more immediate inspiration is contemporary Australian artist Naomi Hobson, whose work she encountered in person at Art Central with Rebecca Hossack Gallery. “I’m deeply inspired by how clearly her culture, land and community flow through her work.”

In personal taste, McAlister gravitates toward art that registers viscerally. “I’m drawn to art that feels alive in my body first — bold, bright colour, graphic impact and a sense of movement or performance.” She respects but struggles to connect with “very cold, ultra-minimal or purely cerebral contemporary work where I need to read a long text to feel anything. My taste leans toward art you feel in your gut and heart first and only analyse afterwards.”

The strong current balancing her worlds requires no rigid timetable. Theatre — especially the forthcoming YAF musical Falling Awake, about a teenage girl who escapes online bullying by slipping into a surreal “Innerverse” — runs on structure: call times, deadlines, the machinery of production. When she has precious time off, painting occupies the cracks, instinctive and free. “It doesn’t feel like juggling, they definitely feed each other, but in practice it’s more like two tides coming in and out than a neatly planned timetable.”

Her representation with The Spectacle Group and gallerist Jaime Lau feels like an artistic homecoming. After returning to painting, McAlister methodically emailed Hong Kong galleries for months. “I basically wore a few of them down until they replied and Jaime was the person I met who truly saw me, not just as an artist but as a human. We connected deeply. Resilience and persistence really paid off.”

She contrasts Art Central’s approachable buzz with the more austere atmosphere of Art Basel. Edible Art, which she attended, delighted her with its playful blurring of visual art, food, and experience. As 2026 unfolds, McAlister embraces expansion with characteristic verve. Falling Awake demands focus, yet fuels the storytelling impulse at her core. In visual art, she eyes new markets with fearless momentum: a group show in Manila this June, conversations with galleries in Paris and New York, and ambitions for London representation.

“At 65, as an ‘older’ emerging artist, I honestly feel like that’s my USP, I have lived experience, stamina and zero interest in playing small, and I’m quite committed to exploiting that, in the best possible way, in the years ahead! I’m planning on living to at least 100 so I have still loads of time. Ha!”

McAlister’s practice refuses diminishment, as her canvases do not merely depict energy — they channel it, offering viewers a visceral reminder that art, like theatre, can awaken something larger than the self. In Hong Kong’s crowded cultural arena, that transmission feels both rare and urgently needed. As a multi-hyphenate behind the scenes, McAlister hasn't left the stage, her new work's just taken centre stage.

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Designer Barney Cheng mulls over diamonds, lost lovers and lost watches

Portrait by Chris Yau 

For the first in our series of Robb Report’s set questionnaire, we knocked on the doors of the designer’s eponymous studio.  

By P. Ramakrishnan. Images: Chris Yau 

Ever the bon mot and full of quips, notes on fashion, style and society, the well-travelled designer Barney Cheng, synonymous with his eponymous label, has a lot to say. About everything. Mercifully, he’s good fun and great chat and a connoisseur of the obtuse and the obscure as much as he is about designer dreams and designer duds.  

A master craftsman with 33 plus years under his designer belt, Cheng has been a Hong Kong society and fashion staple for years. International fame and recognition came when his friend, the perfectly divine Academy Award winning actress Michelle Yeoh, wore a glittering tiger-print gown to the Oscars, the year Crouching Tiger, Hidden Dragon was a multiple nominee. She didn’t win the coveted trophy, but she had a winning gown lauded in several Best Dressed lists, which all circuitously traces back to the studio and fashion Maison that Cheng built.  

A graduate from the Royal College of Art in London (Textile and Design) and from Parson’s School of Design in Paris (with a major in Fashion Illustration and History of European Costume), while holding a BA in Fine Arts Studio Option from The University of Waterloo, Canada, Cheng’s qualifications are plentiful, dwarfed only by years of hard-earned experience.   

Too many Asian celebrities have since worn his creations on the red carpet to list here, but as one of the ‘Top 25 Influential Chinese in Global Fashion’ (Forbes), having celebrated his silver anniversary in the industry, Barney Cheng is a household name in luxury fashion and haute couture – on our side of the planet.  

What is the first thing you do in the morning? 

I go to the loo – oh this is for publication? Let me clean it up. I tend to like my long morning showers just because it wakes me up and under the water, I think about my day ahead. The morning ritual doesn’t vary much as my shower time is sort of my meditative time, where I think about what's happening in my day, my week, my life.  

Do you have any rituals? 

Grooming ones yes, I definitely need a haircut at least every two weeks, just because I'd like to have the fade from the side and back. And I love to have my beard trimmed professionally. I don't like to do it myself -  basically every 10 days, I head to Selvedge Grooming and sit with Akira [Hirata]. He's very good, he’s Japanese, he has this culture of perfection – he’s the best. If I were a girl, I’d be a lot sexier because he does the most amazing hair. I used to have a great gym routine – if not ritual – and I need to take that up again.   

What in your wardrobe do you wear most often? 

Summertime, Moncler polos. Polos are so much better than T-shirts because you can flip up the collar and you're actually saving the back of your neck from sunburn  - especially when playing tennis as I do. Or I wear Lacoste. My shorts are Uniqlo, either seer sucker or linen. This summer in Lake Como, I wore a lot of Loro Piana.  

Do you have a uniform for occasions? 

For a formal event, especially overseas, I like to wear a traditional cheung sam as much as possible, just because I think it's iconic, it really stands out and it’s a conversation starter. It’s funny, I was just at a Lake Como party, for a friend’s wedding, and wearing an all-black cheung sam, some of the guests asked if I was the priest!  

Any favorite websites? 

I’ve been surfing a lot on Farfetch because I like to buy things from my mom. Especially now that she has lost 40 pounds, doing intermittent fasting, she looks great.  

How do you find your calm?   

With age, I’ve definitely calmed down a lot. My friends help me stay calm.  I'm a typical ADHD person, I’m hyper focused and then forget things just as quickly. I don’t know if its wisdom from age, but I’m a lot calmer from my partying days in the ‘90s.  

What is your favourite cocktail? 

I like mojitos because it's easy to drink and I’m drunk before I know it.  I’m not really crazy about Manhattan's or Martinis or anything too fancy.  

Do you collect anything?  

I recently got myself Christofle silverware. No knives, just forks and serving utensils. I got another 12 Rene Lalique champagne short stems. Some of my pieces are from the 1920s and ‘30s and they’re so beautiful. They look a little Egyptian. Now that I don’t party anymore, I like things for my home.  

Do you cook? 

I thought I did – but all my friends tell me I cannot. So now, I forward recipes to my cook and she whips them up.  

What advice do you wish you had followed? 

Just do it. Years ago – and I’m talking before the handover (1997!) – people had asked me to write about life in Hong Kong and I was so reluctant and kept saying, No, I can’t write about my clients. Then Kevin Kwan came out with Crazy Rich Asians, and subsequently the film. When I read it and saw the film, I kept thinking, Hong Kong is so much more colourful than that. I should have written about what goes on here from the '90s – and I’d be living off the residual cheques from Hollywood now.  

Not long ago you launched your own line of jewellery.  

I wish I had started doing jewellery earlier too – as I’ve always been passionate about jewels – so why did I wait so long before launching my own collection? I love diamonds, anything bling, bling, I’ve always added crystals to the evening gowns and I’d recommend jewellery to my clients – so it was a natural progression. I’m glad I started but I wish I had started sooner. Slowly and surely we’re doing commissioned pieces. Getting pieces into auction houses.  

Do you like driving or being driven? 

I love driving. I love my Tesla. I'm not a car freak guy – if you need to talk to anyone about cars, talk to Douglas [Young of, G.O.D.]. I just think that Lamborghinis in Hong Kong are a bit too flashy – I sort of have a poor man’s sports car – my Tesla! It does go from 0 to 60 in 3.2 seconds. I mean, it's like a Ferrari but I paid less than a third for it.  

Are you wearing a watch right now? 

No. I stopped wearing a watch. I haven't worn a watch for at least 15 years,  mainly because I tend to lend my watches to my ex-es and a lot of times I don't ask for them back - an expensive hobby! But, currently, I do have a Franck Muller, in white gold, I like the weight of it. I like the shape of it. And it's an automatic so I love that. I would rather spend HK$3 million on gems and diamonds than on a watch. 

When was the last time you completely disconnected from the world? 

15 years ago, when I went to this retreat. That was the only time I was without digital media for about four days. It was good – but unusual for me. I like to be connected.  

What’s your favourite hotel in the world? 

Ultimately,  I go for comfort so I love Rosa Alpina - it's like your home away from home. They know you by name, the staff there are so knowledgeable and friendly. There’s a fine dining restaurant in the hotel [St Hubertus] that has three Michelin Stars by Chef Norbert Niederkofler. Its not very modern, its not very slick – but its so warm and comfortable, its home-y, its beautiful.  

In Zurich, I really wanted to stay in La Reserve, but they didn’t have rooms for me. It’s a tiny little hotel, but great restaurant and its right on the waterfront! 

The luxurious Kimpton St Honoré Paris in France is just gorgeous.   

And in Asia? 

The Savva [Beach Villa] estate in Phuket – that’s where we do a lot of the family trips every summer. It’s a 11,000 sq-ft villa. There are multiple rooms so everyone has privacy and their own area, there are private pools. And the beach is so near, its almost always empty (not so touristy). And the water is so beautiful.  

I’ve got to mention the Park Hyatt in Niseko, when I go skiing in Japan. That is absolutely beautiful. I went there two and a half years ago – pre pandemic – and I can’t wait to go back there – maybe this Christmas. 

Your favourite hotspots in Hong Kong are…  

Neighbourhood (on Hollywood Road in Central), which used to be the awesome Lot 10;  Wing (on Wellington Street) has the best fish maw steak and crispy chicken in town -  get one of the two VIP rooms. The Chairman, is always great but good luck with securing a booking.  But when you do, you will want to have a standing table every month!  New Punjab Club (in the same building as my studio) their cocktails are to die for- as legendary as their lamb tomahawk! Chaat, the ladies who lunch love this place; for Japanese fine dining, Wa-En Kappo, killer view, go for lunch or early dinner so you still have light out to admire the airport bridge in your skyline. In direct contrast, Sushi Zo at Tai Kwun, no view at all but super yum omakase!  

Who do you admire the most – and why? 

I love Pearl Lam [gallery owner]. Pearl is such a character. She may be going through a lot outside, personal or professional storms, but she’ll let nothing phase her. She and Karen Lo are two of the most loyal people I know. Whatever you are going through, they will be there for you, through thick and thin – and its fabulous to have people like that in your life.  

If you’re traveling, what’s in your bag? 

I have multi multiple adaptors. I have an irrational fear of going somewhere and not being connected and plugged into the world at large. I have different USB heads, I have the travel, collapsible prongs. And I always have a lot of cash – but maybe I shouldn’t publicise that…  

What is worth paying for? 

Mountain guides, tour guides and experts when you travel to a new place. You go to an exotic and foreign location and miss so much if you don’t know where to go. Get an expert and learn and travel at the same time.  

And finally, do you still write letters? 

Not so much – but I do send very nice notes and flowers. I love sending flowers, especially from a florist in London called Wild Things Flowers. People remember you with a smile.  

 

First Look: Art Central 2026 opens Eleventh Edition at Central Harbourfront

Art Central returned yesterday for its eleventh edition, anchoring Hong Kong Art Month with 117 galleries and more than 500 artists from over 50 countries and regions. The fair runs 25 to 29 March at its signature Central Harbourfront location. 

I would be remiss if I didn't point out that the entire affair is backed by Lead Partner UOB and the HKSAR Government’s Mega Arts and Cultural Events Fund... mostly because I'll get notes from friends in PR at odd hours as, especially during event week when timing means nothing to them. Been there, done that! 

Unlike the front door chaos of Art Basel (more on that later), Art Central was a smooth affair as many swanned in and out of the exhibit (the post-event numbers are pending as we go to print) and kudos to the organisational team; an event of this scale, it takes a village to hold up the sky.  

Art Central in Hong Kong launched in 2015, with its inaugural edition held at the Central Harbourfront since day one. It was founded by the team behind the original ART HK and positioned as a more accessible, discovery-focused satellite fair during Art Basel Hong Kong week. Just a bit earlier, Art Basel in Hong Kong launched in 2013, with its first edition taking place from May 23–26 at the Hong Kong Convention and Exhibition Centre. Over the years, Art Basel moved calendars to an earlier date (I suspect as to not clash with other large-scale global fairs in summer). This followed Art Basel's acquisition of the earlier ART HK fair (which had run since 2008), rebranding it under the Art Basel umbrella. Both fairs are now key parts of Hong Kong's annual Art Week in March, with Art Central often running concurrently as a complementary event to Art Basel Hong Kong. Capping off art week taking advantage of the slew of celebrities, big spenders and whales in town all feeling spendy, was amFar.* 
Vox populi often state that Art Central is the humbler cousin of Art Basel, which seems to get the odd celebrity sighting, large scale pieces and price-tags that touch 7-8 figures but as we roamed around Art Central, noted some significant pieces (Dali! Kusama!!) with equally breath-taking price tags too. 
First impressions and post impressions... the usual mix of the great and the gaudy (people watching is so much fun at these events), all the pieces that caught our eye were notable Chinese artists where the art looks like... art. Classic oil paintings, Asian scrolls, 3-D effect paintings, frames and sculptures with a touch of humour... all good fun.  
In the vernacular of youngspeak, "mad props" to those who dressed in all their multi-hued, fabric flowing, statement necklace wearing, parrot-earring-studded, vintage, every-colour-of-the-rainbow caftan wardrobe. We are all for the artists and the eccentrics who let their freak flag fly at events like Art Central where dressing the part is highly encouraged.  

The Highlights.

This year’s edition keeps its focus tight: 30% Hong Kong-based artists and galleries, 85% from the broader Asia-Pacific. It’s the kind of platform that quietly but consistently connects collectors with both established names and emerging voices, placing regional practices in conversation with international ones. Curator Enoch Cheng returns for the gallery projects, while Zoie Yung takes charge of the creative programming, giving the whole fair a clear, considered framework that looks at the cultural, material, and technological forces shaping art right now.

The headline addition for 2026 is Central Stage — a new curated platform spotlighting artists with recent, current or upcoming presence in major international exhibitions, biennales, or significant museum acquisitions. Six presentations have been selected:

• Arahmaiani (Yogyakarta) — a pioneering Indonesian artist whose performance and installation work has addressed politics, gender, and cultural commodification since the 1980s.
• Marta Frėjutė (Vilnius) — working across installation, sculpture and research-driven images that probe how fiction and memory shape everyday life amid shifting histories.
• Elnaz Javani (Tehran/Colorado) — textiles, sculpture and drawing that tangle personal and cultural memory, migration and identity.
• Esther Mahlangu (Mpumalanga, South Africa) — celebrated for bold geometric abstractions drawn from Ndebele traditions and brought into contemporary dialogue.
• Arno Rafael Minkkinen (Helsinki/Massachusetts) — pioneer of black-and-white self-portraits exploring the human body in nature.
• SIDE CORE (Tokyo) — the collective founded in 2012 that folds street culture and urban subcultures into contemporary art.

Neo Sector: New Talent LaunchpadThe Neo section continues to serve as an entry point for galleries in their first or second appearance at the fair. This year’s lineup includes:
Areté Space (Beijing, 2023), Astra Art (Shanghai, 2023), BOUNDED SPACE (Beijing, 2014), Kimreeaa Gallery (Seoul, 2008), Meno Parkas Gallery (Kaunas, 1997), MJK Gallery (Tokyo, 2022), NoSugar Gallery (Wuhan, 2021), The Gallery by SOIL (Hong Kong, 2012), V&E Art (Taipei, 2018) and Wolf & Nomad (Miami, 2018).

Yi Tai Sculpture and Installation ProjectsFive new large-scale works extend beyond the booth format. Hong Kong artists feature prominently: Silvester Mok’s The Digital Fossiliser (Touch Gallery), OrangeTerry’s Found Faith (Square Street Gallery) and Alexis Wong’s Sunken Echoes (Yiwei Gallery). Also on view are Jeong-A Bang’s Oliver Stone’s Swimming and The Space Between Us (Gallery MAC, Busan) and Elnaz Javani’s The Fate (RARARES Gallery, Dubai).
Curated by Zoie Yung, the creative strand examines how digital life reshapes social and virtual experience.
Hong Kong new-media artist Kaitlyn Hau (b. 1999) presents the commissioned installation Recursive Feedback Ritual 0.01 (2026). Using motion-capture data in a recursive loop, the work maps psychiatric symptoms as cycles of repetition and dissociation, reclaiming bodily agency through generative movement and image.
The daily performance series ‘Endless Night and Midnight Sun’ uses polar extremes of light and darkness as a metaphor for AI-altered time. New commissions come from Jiaming Liao (IYKYK (ON AIR)), Chaklam Ng (Shadow Work), Isabella Isabella (I see blood in the sky.) and Susie Au (Memory In Motion – Walk-In-Cinema).
Video art programme ‘Reading the Room’ reflects on human nuance versus AI’s limitations in grasping subtext and tone. Highlights include Liang-Jung Chen’s UK Indefinite Leave to Remain Application Fee, Yifan Jiang’s One Sunday Morning, Jon Rafman’s Cloudy Heart – Strawberry Moon, and Adrian Wong’s With Love from Hong Kong and With Hate from Hong Kong.
Talks bring together artists and curators for conversations on Southern Chinese art, MV as art form, the Hong Kong Artist Commission, and art-tech ecologies.

Partner ProjectsUOB marks a decade as Lead Partner with Hong Kong artist Ling Pui Sze’s largest installation to date, White Mirror – The Vista of Inner Worlds (2026). The immersive ink-and-paper sculptural garden draws on cellular imagery and Cambridge research, evoking a cosmic Zen space that echoes the Daoist idea of “Everything as One.” Additional showcases feature 2025 UOB Art in Ink Awards winners and the UOB Painting of the Year Regional Showcase. Workshops with established Hong Kong ink artists are open for pre-registration at uobartacademy.com.hk/ws2026.
Sands China debuts at Hong Kong Art Month with a presentation of three Macao artists — Lei Ieng Wai, Leong Chi Mou and Dor Lio Hak Man — alongside aesthetic references to the city’s historic firecracker industry. Nice to see our friendly island neighbours represented. 
MTN Seni Budaya (Indonesia) presents ‘Rising Currents’, a constellation of eight Indonesian galleries mapping the multiple currents in contemporary Indonesian art today.
Chance AI, the Innovation Partner, launches Chance LIVE — its “Visual Agent” technology — offering real-time on-site interpretive insights into works at the fair.Eat, Drink, ConnectBlack Sheep returns for the third year with an expanded Eat Central featuring Ho Lee Fook, Artemis & Apollo, Jean-Pierre, FALCONE and Messina gelato, complete with exclusive new dishes, but good luck standing in line waiting for paper cups. 

Soho House Hong Kong set up its pop-up bar against a mural by local French artists Faustine Badrichani and Elsa Jeannedieu, serving classics like the Picante and the new Highball Fifty. After all that walking in the Ikea-maze of the exhibits, put your feet up if you can find a chair. While we were waiting in line for the obligatory champagne, a lot of wheeling and dealing was overheard; one of the Dali sculptures sold within the first few hours; prices range from HK$300,000-HK$450,000. None too shabby. 
Kronenbourg 1664 created The Blue Perspective lounge, inspired by the liminal blue hour and 1664 Blanc. Easy to find, there's always a slightly bored looking model trying to muster enthusiasm while pointing to the direction of the keg. Or whatever they have going on backstage. Great beer. 
illycaffè brings the latest John Armleder Art Collection, with shimmering cup-and-saucer designs that echo his light works.
All in all, I highly recommend. Got my 16,000 steps in. 
Tickets are available now at artcentralhongkong.com/tickets.Fair dates: 25–29 March 2026
Venue: Central Harbourfront, 9 Lung Wo Road, Hong KongHong Kong, 24 March 2026

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*The last official amfAR Gala in Hong Kong was held in 2019 (at Rosewood Hong Kong, honouring Adrian Cheng and raising over US$2.75 million), but amfAR has not held the Hong Kong edition since then (no events in 2020–2025 either, likely due to COVID, charity fatigue, and other factors). For 2026, amfAR’s official events page lists confirmed/upcoming galas in: Palm Beach (March 28, 2026), Cannes (May 21, 2026) and Venezia, Dallas, London, and Las Vegas (dates TBA for some)... and Hong Kong is not on the 2026 lineup - paused indefinitely.  

Art Central 2026

Hmmm Déjà vu?! 

Art Central 2025