In the vibrant tapestry of Hong Kong’s art scene, few figures are as pivotal as Enoch Cheng, the curator behind the gallery programmes of Art Central 2025. With the upcoming edition of this popular fair, Cheng reflects on the transformative power of art, particularly in the context of recovery and renewal following the global challenges of recent years. 

As he embarks on his second consecutive year curating the event, Cheng’s vision has evolved, embracing a deeper commitment to inclusivity and innovation. His initial foray into Art Central was informed by a desire to foster connection amidst the post-pandemic landscape. “Last year, my goal was to engage with audiences in the context of post-Covid recovery,” he says. “I wanted to encourage curiosity, and we succeeded in creating an event that many people could enjoy together.” For the 2025 edition of Art Central, he is taking his vision further, focusing on programming that supports emerging galleries, showcases legendary artists, and highlights photography as a significant medium.

His introduction of the Neo sector last year has invigorated Art Central, providing a platform for new galleries to flourish. “It’s a privilege to grow alongside small to mid-sized galleries,” Cheng states. Many of the innovative projects presented have since garnered attention from collectors and international art fairs, underscoring the role Art Central plays as a nurturing ground for artistic talent. “It demonstrates that Art Central is not just a testing ground for galleries but also a platform for Hong Kong to cultivate a thriving art ecosystem,” he adds.

As it stands, the current edition of Art Central features an impressive roster of 108 galleries and over 500 artists, a testament to the event’s expansive reach. Cheng acknowledges the challenge of ensuring a cohesive narrative amid such diversity. “Curation, at its core, is about care,” he asserts. “While exhibitions often centre around themes, I am particularly interested in nurturing an ecosystem that offers audiences a broader perspective on the world.”

A notable initiative in this year’s edition is the new Legend feature, which celebrates artists born before the 1970s to spotlight under-recognised figures from the Asia-Pacific region who have made significant contributions to art history. Cheng explains that “to curate this section, we carefully reviewed the artist rosters of participating galleries to identify key figures who have left a lasting mark.” His meticulous selection process ensures that the works presented not only resonate with the audience but also elevate the discourse around art’s historical context. Cheng’s focus on artists from the past is not merely nostalgic; it is a conscious effort to engage contemporary conversations around art. He notes that “these museum-standard artists have not always received visibility in Hong Kong. I hope Hong Kong can play a role in shaping both the evolving art ecology of today and the development of art history itself.”

As the fair approaches, Cheng is particularly excited about the Yi Tai Sculpture & Installation Projects, which aim to transform the visitor experience through large-scale, immersive works. Each year, the projects evolve based on proposals received, with a focus on creating intimate encounters despite their scale. In 2025, “all the works convey a sense of intimacy,” he reveals. From Roxane Revon’s experimental photography installation to Dai Ying’s delicate Xuan paper temple, these installations are designed to engage and inspire visitors, inviting them to consider the deeper narratives behind each piece.

Art Central’s commitment to diverse representation is evident in its selection of artists from over 40 countries and territories. Cheng attributes this rich diversity to his focus on nurturing a healthy artistic ecosystem. “I strive to ensure a diversity of artistic voices,” he explains, highlighting the importance of broad perspectives in the global art dialogue.

Curating an event of this magnitude presents both challenges and rewards. Cheng manages a significant roster of galleries, personally engaging with around 20 to 30 of them. “Visitors may have seen countless works before arriving, or they may be looking for something different,” he notes. His greatest pleasure lies in the trust built with galleries and artists, witnessing the joy of visitors from all walks of life as they engage with the art on display.

Balancing innovation with the preservation of traditional artistic practices is a delicate task, but one that Cheng embraces wholeheartedly. He asserts that “tradition provides a framework, but our role is to push its boundaries.” His philosophy is reflected in the Art Central programming, which seeks to introduce innovative works while maintaining a strong foundation in artistic heritage, and the dialogue among all stakeholders—galleries, artists, and audiences—remains central to Cheng’s curatorial approach.

Art Central has evolved significantly since its inception, becoming a vital space for non-blue-chip galleries. Cheng recalls his own journey, from presenting a performance at the inaugural fair to assuming the role of curator. “Art Central has nurtured Asian talent,” he reflects, noting how visibility shapes the global art narrative. “An art fair is not just about transactions; it’s about visibility. Visibility leads to representation, representation shapes reputation, and reputation determines which narratives become part of the larger cultural discourse.”

Cheng is particularly enthusiastic about several standout works that promise to captivate audiences. From Sujin Lee’s tactile felt sculptures to Satoshi Otsuka’s inventive photographic compositions, these pieces offer compelling entry points for engagement. Cheng emphasises  that “these works demand to be experienced, to be seen and felt beyond a first glance.”

As an artist-curator himself, Cheng’s own practices inform his curatorial decisions. “Curating at Art Central as an artist is a privilege,” he acknowledges. His holistic approach encompasses the entire process, from initial communications to the visitor experience at the fair. “I strive for transparency and collaboration,” he says, ensuring that every participant feels a sense of belonging in this collective cultural event.

Looking to the future, Cheng envisions Art Central continuing to expand its global reach and influence. “If we remain committed to supporting and growing alongside small to mid-sized galleries, we have the potential to serve as an instrumental model,” he states. 

By maintaining direct dialogue with galleries and artists, Art Central creates meaningful experiences that resonate on a global scale as an enduring power of artistic expression. With each carefully curated work and installation, Cheng invites audiences to embark on a journey of discovery, fostering a deeper appreciation for the narratives that shape our understanding of art in the contemporary world, and our attempts to understand it. 

Art Central 2025 will take place from 26–30 March at Central Harbourfront.