
The exhibition, which opened on December 13, brings together nearly 180 works spanning Zao’s printmaking practice from the late 1940s through 2000, positioning his prints, illustrated books, works on paper and archival materials as central to his development as a major figure in modern abstraction.
Drawing on significant holdings donated by his wife, Françoise Marquet-Zao, and additional gifts from his daughter, Sin-May Roy Zao, alongside more than fifty loans from international museums and private collections, the show traces how Zao’s mastery of techniques such as lithography, etching and aquatint informed his broader artistic evolution.
Organised chronologically and thematically, the exhibition reveals how printmaking was not merely a complementary medium but integral to Zao’s creative process, enabling him to experiment with expressive gestures and cross-cultural dialogues that resonated across Europe, Asia and the United States.
Highlights include seminal works such as “Lecture par Henri Michaux de huit lithographies de Zao Wou-Ki” (1950), “Piazza Siena” (1951) and “À la gloire de l’image et art poétique” (1977), which demonstrate the breadth of his graphic and conceptual innovation.
Co-curated by M+ and the Zao Wou-Ki Foundation and supported by lead sponsor BNP Paribas with major sponsorship from AIA Hong Kong and Cathay, the exhibition runs through May 3, 2026, offering visitors a rare opportunity to experience the full arc of Zao’s printmaking legacy and its relationship to his celebrated contributions to twentieth-century abstract art.














