What are the opening hours?

Wednesday 11:00 - 18:00 Thursday 11:00 - 18:00 Friday 11:00 - 18:00 Saturday 10:00 - 18:00 Sunday 10:00 - 18:00

Beijing Inside-Out Art Museum, No. 50, Xingshikou Road, Haidian District, Beijing (2026)

24/03/2026

Installation & Opening Recap ✨

Last week in Beijing, we spent several days installing 𝙎𝙚𝙩𝙩𝙞𝙣𝙜 𝙩𝙝𝙚 𝙏𝙤𝙣𝙚 𝙤𝙛 𝙩𝙝𝙚 𝙀𝙭𝙝𝙞𝙗𝙞𝙩𝙞𝙤𝙣 (𝙤𝙪𝙩𝙨𝙞𝙙𝙚-𝙞𝙣) and marking its opening together. Thank you to all the artists who joined us on site and helped set the tone throughout the process. We hope it remains a beautiful memory for everyone involved ❤

Thank you for making this happen.

𝙎𝙚𝙩𝙩𝙞𝙣𝙜 𝙩𝙝𝙚 𝙏𝙤𝙣𝙚 𝙤𝙛 𝙩𝙝𝙚 𝙀𝙭𝙝𝙞𝙗𝙞𝙩𝙞𝙤𝙣 (𝙤𝙪𝙩𝙨𝙞𝙙𝙚-𝙞𝙣) remains on view through June 21.
More to come soon!

17/03/2026

Current Exhibition | 𝑈𝑛𝑎𝑑𝑜𝑟𝑛𝑒𝑑 𝐸𝑥𝑝𝑟𝑒𝑠𝑠𝑖𝑜𝑛𝑠: 𝑇ℎ𝑒 𝑆𝑝𝑖𝑟𝑖𝑡𝑢𝑎𝑙 𝑊𝑜𝑟𝑙𝑑 𝑜𝑓 𝑍ℎ𝑎𝑜 𝑊𝑒𝑛𝑙𝑖𝑎𝑛𝑔

𝑀𝑎𝑟𝑐ℎ 14 — 𝐽𝑢𝑛𝑒 21, 2026

This exhibition brings together nearly 120 works created between 1956 and 2015, spanning the entirety of Zhao Wenliang’s artistic career. The exhibition title, 𝑈𝑛𝑎𝑑𝑜𝑟𝑛𝑒𝑑 𝐸𝑥𝑝𝑟𝑒𝑠𝑠𝑖𝑜𝑛𝑠, does not refer to a direct depiction of external reality or an illustration of political ideas. In a cultural context where personal emotions were often avoided and artistic expression was narrowly tied to political visions, Zhao found in early modernist art of the nineteenth century a point of departure for emotional expression. From this, he developed a deeply personal and compelling artistic language. His paintings became his own way of speaking plainly from the heart.

In his works, familiar scenes like roads leading to harbors, mist-filled night streets, lotus ponds, solitary figures in forests, or a mother lying on a sickbed, take on symbolic significance. They gesture toward unseen realities: the pursuit of freedom, reflections on the hardships of life, and a quiet awareness of time’s passing. Through symbolism and associative imagery, these visual forms acquire an unusual freedom, allowing the artist’s subjectivity to emerge clearly and directly engage the viewer. Symbolic suggestion imbues visible forms with poetic resonance and beauty, while reflections on human existence remain quietly embedded within compositions that are at once structurally balanced and spiritually charged. This distinctive approach sets Zhao Wenliang apart not only from other members of the No Name Group, but also from many artists who, in the intellectual climate of the 1970s, began experimenting primarily with formal innovation.

Curator: Carol Yinghua Lu

09/03/2026

Upcoming Exhibition | 𝑆𝑒𝑡𝑡𝑖𝑛𝑔 𝑡ℎ𝑒 𝑇𝑜𝑛𝑒 𝑜𝑓 𝑡ℎ𝑒 𝐸𝑥ℎ𝑖𝑏𝑖𝑡𝑖𝑜𝑛 (𝑜𝑢𝑡𝑠𝑖𝑑𝑒-𝑖𝑛)

𝑀𝑎𝑟𝑐ℎ 14 — 𝐽𝑢𝑛𝑒 21, 2026

At Inside-Out Art Museum, two-part exhibition 𝑆𝑒𝑡𝑡𝑖𝑛𝑔 𝑡ℎ𝑒 𝑇𝑜𝑛𝑒 𝑜𝑓 𝑡ℎ𝑒 𝐸𝑥ℎ𝑖𝑏𝑖𝑡𝑖𝑜𝑛 explores how artists generate mood and atmosphere within the white cube. It reveals how ambiance is shaped through works, displays, and juxtapositions.

𝑆𝑒𝑡𝑡𝑖𝑛𝑔 𝑡ℎ𝑒 𝑇𝑜𝑛𝑒 𝑜𝑓 𝑡ℎ𝑒 𝐸𝑥ℎ𝑖𝑏𝑖𝑡𝑖𝑜𝑛 (𝑜𝑢𝑡𝑠𝑖𝑑𝑒-𝑖𝑛) presents a cacophony of expressions and a state of flux. Eschewing static presentation, it engages viewers through playful, interactive displays, encouraging dialogue with artworks, other visitors, and museum staff to fully experience the works.

The exhibition functions as a Gesamtkunstwerk embracing beauty, mistakes, and play. Featuring thirty Chinese and international artists, it interrogates exhibition-making itself, examining how curators and artists navigate the complexities of shaping an exhibition. It focuses on where it truly begins, not at the opening, but in the curatorial decisions made beforehand.

𝑃𝑎𝑟𝑡𝑖𝑐𝑖𝑝𝑎𝑡𝑖𝑛𝑔 𝐴𝑟𝑡𝑖𝑠𝑡𝑠
Claire Barrow, Joakim Wei Bernild, Benedikte Bjerre, Alfred Boman, Chong Yan Chuah, Dai Zhankun, DemonLovers Inc., Jason Dodge, Jules Fischer, Oscar Eriksson Furunes, Goodiepal, Eva Grubinger, Elaine W Ho, David Horwitz, Louise Lawler, Li Hanwei, Siyi Li, Erik Merisalu, David Moser, Ella Wang Olsson, Alizée Quitman, Ásta Fanney Sigurðardóttir, Sin Wai Kin, Karolina Szwed, Pol Wah Tse, Quan Wenfei, Sofie Winther, Carla Zaccagnini, Zhi Wei

Artistic Director: Carol Yinghua Lu
Curator: Jacob Fabricius
Assistant Curator: Cao Liyao
Exhibition Coordinator: Rory Guan
Exhibition Assistant: Li Zejun, Li Huiyi
Visual Design: Dokho Shin

01/03/2026

𝙀𝙭𝙝𝙞𝙗𝙞𝙩𝙞𝙤𝙣 𝙁𝙤𝙘𝙪𝙨 | 𝙖𝙡𝙛𝙖𝙩𝙞𝙝

𝙏𝙝𝙚 𝙇𝙖𝙨𝙩 𝙎𝙡𝙞𝙥𝙨𝙩𝙧𝙚𝙖𝙢 𝙤𝙛 𝙃𝙞𝙨𝙩𝙤𝙧𝙮
2025
Loudspeaker, Conveyor system, Festoon Cables
Variable dimensions

Featured in 𝘽𝙧𝙚𝙖𝙠𝙙𝙤𝙬𝙣 𝙋𝙡𝙖𝙮𝙡𝙞𝙨𝙩
Residency Institution: Inside-Out Art Museum

𝙏𝙝𝙚 𝙇𝙖𝙨𝙩 𝙎𝙡𝙞𝙥𝙨𝙩𝙧𝙚𝙖𝙢 𝙤𝙛 𝙃𝙞𝙨𝙩𝙤𝙧𝙮 is a site-specific sound installation in which a motorized conveyor system moves continuously along a suspended rail. A loudspeaker mounted underneath projects sound in a narrow beam, audible only to those positioned directly below. Above, festoon cables power the device, tracing arcs in the air as the machine drifts back and forth.

The work transforms industrial infrastructure into a hybrid figure, part kite and part drone, collapsing their divergent histories. Both technologies were first developed for military purposes, but have evolved into radically different signifiers: one into a leisure and contemplative form of play, the other into a symbol of surveillance and control. The Last Slipstream of History inhabits the space between these poles, turning efficiency into drift and recurrence into a sonic instrument of duration.

alfatih lives and works in Switzerland.

01/03/2026

𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏 𝑭𝒐𝒄𝒖𝒔｜𝑱𝒊𝒂𝒘𝒆𝒊 𝒁𝒉𝒆𝒏𝒈

𝙊𝙣𝙚 𝙏𝙝𝙤𝙪𝙨𝙖𝙣𝙙 𝙍𝙚𝙖𝙨𝙤𝙣𝙨 𝙩𝙤 𝘾𝙧𝙮
2025
Film and installation with custom-made resin beads, metal chain, paracord and film props
9'30"

Featured in 𝑆𝑒𝑡𝑡𝑖𝑛𝑔 𝑡ℎ𝑒 𝑇𝑜𝑛𝑒 𝑜𝑓 𝑡ℎ𝑒 𝐸𝑥ℎ𝑖𝑏𝑖𝑡𝑖𝑜𝑛 (𝑝𝑟𝑜𝑙𝑜𝑔𝑢𝑒 𝑏𝑜𝑑𝑦)

Jiawei Zheng is a visual artist and filmmaker. Identifying an incubator for synthetics, Jiawei channels her creative energies into a multifaceted exploration of collective experience. From narrative experimental film to collage video, installation, and text, she traverses an array of mediums with a fluidity that mirrors memory itself. Each piece serves as a portal, inviting viewers to embark on a journey of re-imaginary, where the boundaries between past and present (and possible futures), truth and fiction, seamlessly intertwine, merge, and fade away.

In this exhibition, Jiawei Zheng presents a new film titled 𝙊𝙣𝙚 𝙏𝙝𝙤𝙪𝙨𝙖𝙣𝙙 𝙍𝙚𝙖𝙨𝙤𝙣𝙨 𝙩𝙤 𝘾𝙧𝙮 (2025) within an installation setting. The film is set in the neon intimacy of a karaoke room, and the camera follows a man whose attempts at an ordinary singing session unravel into fractured performances. The phase in the film “Practicing another possibility of future” is visualised through custom-made beaded elements, and these beaded texts are integrated with props used during the filming process, echoing imagination, desire, and futures shaped by distance. As the performers voice splinters and phrases compulsively repeat, an animated creature appears part mirror, part surrogate—embodying excess, vulnerability, and the unruly voice within. Together they slip into surreal exchanges that oscillate between grief and laughter, exposing the slow detachment from language, creating a layered narrative space that reflects on the entanglement of historical burden, colonial pasts, imagined futures and the cultural weight of pop music. Karaoke becomes both stage and refuge, a space where memory, loss, and desire are endlessly rehearsed.

01/03/2026

𝑬𝒙𝒉𝒊𝒃𝒊𝒕𝒊𝒐𝒏 𝑭𝒐𝒄𝒖𝒔｜𝑬𝒍𝒍𝒂 𝑾𝒂𝒏𝒈 𝑶𝒍𝒔𝒔𝒐𝒏

𝘾𝙤𝙣 𝙏𝙚𝙢𝙥𝙤𝙧𝙖𝙧𝙮, 𝙏𝙚𝙢𝙥𝙤𝙧𝙖𝙧𝙮 𝘾𝙤𝙣
2025
Printed cotton curtain

Featured in 𝑆𝑒𝑡𝑡𝑖𝑛𝑔 𝑡ℎ𝑒 𝑇𝑜𝑛𝑒 𝑜𝑓 𝑡ℎ𝑒 𝐸𝑥ℎ𝑖𝑏𝑖𝑡𝑖𝑜𝑛 (𝑝𝑟𝑜𝑙𝑜𝑔𝑢𝑒 𝑏𝑜𝑑𝑦)

Ella Wang Olsson is a multidisciplinary artist creating immersive and site-specific works that unfold through storytelling. With a background rooted in both Chinese and Swedish heritage, her practice is guided by research in Eastern and Western philosophies, revealing harmony within their contrasts and drawing from performative traditions. Wang Olsson works with painting, performance, video and sound to create immersive and interactive experiences between object, movement and audience. Her current research centers around the parallels between modern party and traditional festivals as spaces of collective transformation. In the fusion of the underground, the sacred, and the spectacular, she reimagines celebration as a site for healing, transformation, and shared myth-making.

Ella Wang Olsson has contributed a new work for this exhibition called 𝘾𝙤𝙣 𝙏𝙚𝙢𝙥𝙤𝙧𝙖𝙧𝙮, 𝙏𝙚𝙢𝙥𝙤𝙧𝙖𝙧𝙮 𝘾𝙤𝙣 which is a printed cotton curtain hanging as an entrance portal at the beginning of the exhibition. The curtain showcases the artist’s performance persona: xiexie3lla whilst playfully rearranging the title "contemporary". Audiences are invited to walk through this portal, stroked effortlessly by the blessings of xiexie3lla.

Ella Wang Olsson (b. 1999, Sweden) lives and works between Rotterdam, the Netherlands, and Shanghai, China.

26/02/2026

𝙀𝙭𝙝𝙞𝙗𝙞𝙩𝙞𝙤𝙣 𝙁𝙤𝙘𝙪𝙨 | 𝙈𝙞𝙣𝙖 𝙎𝙦𝙪𝙖𝙡𝙡𝙞-𝙃𝙤𝙪𝙨𝙨𝙖ï𝙣𝙞

𝙃𝙖𝙡𝙛 𝙏𝙝𝙚 𝙎𝙠𝙮
2025
Glass, LED lamps, trichloroethylene print on paper, paper tape, metal hinges

Featured in 𝘽𝙧𝙚𝙖𝙠𝙙𝙤𝙬𝙣 𝙋𝙡𝙖𝙮𝙡𝙞𝙨𝙩
Residency Institution: Yue Art Museum

The series 𝙃𝙖𝙡𝙛 𝙏𝙝𝙚 𝙎𝙠𝙮 consists of three sculptures. Each piece is composed of two glass panels joined by metal hinges, recalling the codes of a folding screen, an architectural model, or an open picture book. At once fabulative and deceptive, the sculptures stage small-scale architectural fragments through a childlike lens of projection and reverie. Within these architectonic forms, small cut-out windows appear in the manner of passe-partouts, revealing fractions of backlit images. The images are sourced from a broad spectrum of Algerian movies, drawn from the artist’s cinematic research. Repeated patterns are visually extracted from screenshots of film sets, with the framing emphasizing fences and bars on windows. Those isolated fragments of architecture confound notions of self-preservation, fear, protection, concealment, motifs that recur throughout the artist’s practice.

Mina Squalli-Houssaïni is an artist based between Geneva and Paris. Her work focuses primarily on sculpture and installation, and also engages with sound, video,
and text. A formal vocabulary drawn from architecture, design, and the domestic, mobilizing elements from her everyday life such as windows, tables, display cases, thresholds, and signs, runs through her entire practice. Her work is structured through a methodology based on repetition, variation, and the partitioning of forms and motifs, where rhythm organizes both space and narrative. Working from personal, historical, and fictional archives, the artist develops layered narratives. Her sculptures and installations become spaces of restraint and latency, concealing like a Trojan horse, a plurality of political narratives. The unsaid, concealment, and anonymity thus become strategic forces generating formal directions and fabulations.

26/02/2026

𝐄𝐱𝐡𝐢𝐛𝐭𝐢𝐨𝐧 𝐅𝐨𝐜𝐮𝐬 | 𝐌𝐚𝐭𝐡𝐢𝐬 𝐆𝐚𝐬𝐬𝐞𝐫

𝙃𝙚𝙞𝙨𝙩, 𝙎𝙪𝙯𝙝𝙤𝙪 𝙈𝙪𝙨𝙚𝙪𝙢, 𝙆𝙞𝙣𝙜𝙙𝙤𝙢'𝙨 𝘿𝙧𝙚𝙖𝙢, 𝙏𝙧𝙖𝙞𝙣𝙨 𝙖𝙣𝙙 𝙎𝙥𝙖𝙘𝙚𝙨𝙝𝙞𝙥𝙨
2025
Mixed media

Featured in 𝘽𝙧𝙚𝙖𝙠𝙙𝙤𝙬𝙣 𝙋𝙡𝙖𝙮𝙡𝙞𝙨𝙩
Residency Institution: Organhaus

Mathis Gasser is a Swiss-British artist based in London. He is known for his paintings, collages, sculptures and installations that explore the intersections of science fiction, institutional structures, and cultural narratives. Gasser' s work often examines the influence of popular culture and speculative fiction with regards to societal and economic dynamics and perceptions.

In this exhibition, Gasser presents four sculptural works that continues his reflections on science fiction, institutional structures, and cultural narratives. The white 𝙏𝙧𝙖𝙞𝙣𝙨 𝙖𝙣𝙙 𝙎𝙥𝙖𝙘𝙚𝙨𝙝𝙞𝙥𝙨 features models of transportation vessels, reflecting on technology, acceleration, and imagination, and posing broader theme: 'Progress' is never linear but 'messy' and 'complex' in itself. 𝙎𝙪𝙯𝙝𝙤𝙪 𝙈𝙪𝙨𝙚𝙪𝙢 refers to reflections on museums in the artist' s In the Museum trilogy, with assembling the model as a way to engage with a Chinese museum, then by adding colours and ink to allude to an unknown event or happening. A museum is always a place of convergence of many lives, objects and stories, and the sculpture reflects on such converging lines by transforming the museum into a colourful 'event'. In 𝙃𝙚𝙞𝙨𝙩, the sculpture recreates a scene from the film 𝑇𝑒𝑛𝑒𝑡 with Chinese toy models; despite the stillness, we witness a thriller of sorts, unfolding in real time. It can also be read to express undertones of economic tension between different countries. 𝙆𝙞𝙣𝙜𝙙𝙤𝙢'𝙨 𝘿𝙧𝙚𝙖𝙢 gathers a variety of building and infrastructure models, referring to the writing of Han Song that evokes a sense of co-existence between different realms such as the real and the imaginary. The sculpture captures something surreal, like a David Lynch scene but with Chinese characteristics and themes.

11/02/2026

Dear Visitors,

As the first signs of spring awaken the dormant earth, and life begins to stir beneath the surface, we at the Beijing Inside-Out Art Museum extend our warmest Chinese New Year greetings on the cusp of the Year of Horse.

We are deeply grateful for the attention and support from fellow artists, scholars, and each one of our visitors over the past year. Through the whole year, we held 27 public programs and maintained dialogues with creators from diverse regions and contexts. These exchanges have continuously refreshed our perspectives and judgments, prompting us to refine our approaches in practice. We sincerely thank every participant in our exhibitions and events. Each encounter and its lasting echo has become a source of strength that fuels our ongoing work.

With the arrival of Little New Year (Chinese New Year prelude), the museum will remain open until February 11, closing for the Spring Festival holiday from February 12 to 24. Look forward to see you again on February 25, reconnecting and setting the tone for the new year together.

Our 2026 New Year poster draws inspiration from one of the earliest experiments in moving image: The Horse in Motion (1878) by Eadweard Muybridge. Projected through the Zoopraxiscope, this sequence of photographs produced the illusion of movement and is often regarded as a point of origin in the history of cinema. From this century-old beginning, we sincerely wish you “Free to think. Fresh to gallop!”

Beijing Inside-Out Art Museum
At the tail end of the Snake Year, 2026

11/02/2026

𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻 𝗙𝗼𝗰𝘂𝘀 | 𝗖𝗹𝗮𝗿𝗮 𝗥𝗼𝘂𝗺é𝗴𝗼𝘂𝘅

𝙐𝙣𝙞𝙩𝙮 𝙖𝙣𝙙 𝘾𝙤𝙣𝙣𝙚𝙭𝙞𝙤𝙣
2025
Pigmented glass, metal sheet
⌀150cm

𝘼 𝙏𝙖𝙨𝙩𝙚 𝙤𝙛 𝙇𝙞𝙛𝙚
2025
Plastic bag, wood
16×18cm, 3 pieces

𝙎é𝙥𝙖𝙧𝙖𝙩𝙞𝙤𝙣
2025
Painted metal
19×19cm

Featured in 𝘽𝙧𝙚𝙖𝙠𝙙𝙤𝙬𝙣 𝙋𝙡𝙖𝙮𝙡𝙞𝙨𝙩
Residency Institution: Beijing Inside-Out Art Museum

Clara Roumégoux (b. 1998, France) lives and works in Geneva, Switzerland. Her practice investigates the social life of everyday objects and the systemic norms shaped by regimes of production, circulation, and consumption, examining how signs and infrastructures, from logos to packaging, act not as neutral forms but as signs that orient gestures, organize trajectories, and create desire. Roumégoux engages with the legacy of minimalism by using its figures of authority to question how images and objects now operate as protocols, signals, or simulations. Slowed infrastructures interrupt the ideology of continuity, staging suspension as a possible counter-tempo.

𝙐𝙣𝙞𝙩𝙮 𝙖𝙣𝙙 𝘾𝙤𝙣𝙣𝙚𝙭𝙞𝙤𝙣 consists of two circles of red and yellow glass, interlocking like a famous logo, acting as a sign before a function. The reflection of the glass recalls the economy of luminous signage—postmodern images where visibility turns into saturation, suggesting not stability, but collapse. The sign does not secure meaning; it falters, revealing its own instability. 𝘼 𝙏𝙖𝙨𝙩𝙚 𝙤𝙛 𝙇𝙞𝙛𝙚 focuses on plastic bags as a disposable surface that materializes the rhetoric of commerce, where expectation is standardized. It extends this reflection and appears as the image of a late-capitalist myth: the idea of a full life. In 𝙎é𝙥𝙖𝙧𝙖𝙩𝙞𝙤𝙣, these reflections unfold within a ventilation system calibrated to the rhythm of a clock, making it exhale too slowly to perform its function. Efficiency is displaced by the slightest alteration, its cadence slowed to the point of fatigue. In this deceleration, the infrastructure no longer dissolves into function but asserts itself as a residual presence, a state of wear that replaces continuity with exhaustion and drift.

11/02/2026

𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻 𝗙𝗼𝗰𝘂𝘀 | 𝗟𝗶𝘂 𝗬𝘂𝗮𝗻

𝙍𝙚𝙢𝙤𝙫𝙚𝙙 𝙋𝙞𝙘𝙩𝙪𝙧𝙚𝙨
2025
Inkjet prints
20.3 x 15.2 cm, 18 pieces

𝙊𝙗𝙟𝙚𝙘𝙩𝙨 𝙞𝙣 𝙋𝙡𝙖𝙘𝙚 𝙤𝙛 𝙋𝙝𝙤𝙩𝙤𝙜𝙧𝙖𝙥𝙝𝙨
2025
Inkjet prints, ready-made
Dimensions variable, 4 pieces

Featured in 𝘽𝙧𝙚𝙖𝙠𝙙𝙤𝙬𝙣 𝙋𝙡𝙖𝙮𝙡𝙞𝙨𝙩

Liu Yuan (b. 1999) continues to explore the relationship between images and physical objects. By photographing common, everyday items and embedding these images in old frames collected from flea markets, he constructs a visual language that exists between documentation and narrative. In his view, an image is no longer a direct reproduction of reality, but rather a fluid, unfinished fragment—open, detached, and unresolved. These images deliberately avoid a clear storyline, emphasizing the sense of information and physicality they carry, rather than a fixed narrative structure. As “images awaiting completion,” they invite viewers to participate in a “trade object for image” mechanism, where the constant circulation of items and pictures continuously re-infuses the images with new stories and meaning.

𝙍𝙚𝙢𝙤𝙫𝙚𝙙 𝙋𝙞𝙘𝙩𝙪𝙧𝙚𝙨 and 𝙊𝙗𝙟𝙚𝙘𝙩𝙨 𝙞𝙣 𝙋𝙡𝙖𝙘𝙚 𝙤𝙛 𝙋𝙝𝙤𝙩𝙤𝙜𝙧𝙖𝙥𝙝𝙨 focus on the relationship between images and physical objects. In a previous solo exhibition, the artist invited visitors to exchange their personal belongings for his photographic works. In this exhibition, the exchanged physical objects, the unexchanged photos, and the images that document these items are placed together on a bookshelf. They serve as interchangeable media for one another, creating a potential order amidst the apparent chaos.

Visitors are invited to continue their participation by leaving or taking items, allowing new artworks to be continuously generated within this cycle of exchange. Displayed in the glass area, the“photos of photos”document works that once existed in the exhibition but have since been taken away, leaving only the images as a testament. The works thus continuously shift between objects, images, and traces of time, exploring how“disappearance”and“presence”acquire new meaning through constant substitution and circulation.

Beijing Inside-Out Art Museum

24/03/2026

17/03/2026

09/03/2026

01/03/2026

01/03/2026

01/03/2026

26/02/2026

26/02/2026

11/02/2026

11/02/2026

11/02/2026

Address

Opening Hours

Telephone

Website

Alerts

Shortcuts

Share

Wednesday	11:00 - 18:00
Thursday	11:00 - 18:00
Friday	11:00 - 18:00
Saturday	10:00 - 18:00
Sunday	10:00 - 18:00