The tenth Asian Art Biennial opens on 7 November at the National Taiwan Museum of Fine Arts in Taichung, bringing together 30 artist groups and seven co-learning projects under the title Mrahul Tminun-Gong-Zhi-Co-Weaving. The exhibition runs until 28 February 2027 and marks the biennial's tenth edition since its founding in 2007.

Curator Lu Pei-Yi drew the theme from visits to Taiwan's Indigenous communities. In the Truku language, Mrahul Tminun describes people gathering to weave together, an idea rooted in the practice of Truku artist Labay Eyong. Lu treats curating itself as a form of weaving, echoing the way tribal women work side by side, sharing skills and stories as they make cloth. The title is presented in Truku, Chinese and English, and the show is organised around three strands: weaving as method, artists as weavers, and weaving people together.

Unusually, every participant takes part as a group rather than as an individual artist. The invited artists, collectives and independent spaces all work closely with communities, and the show foregrounds women's, Indigenous and queer perspectives. Alongside the artworks, co-learning projects, forums and alternative visitor routes turn the galleries into a platform for shared learning and exchange.

Among the works, Indonesian collective GEGERBOYO presents a commissioned installation reflecting on communal labour under colonial rule, while Hou I-Ting continues her long-running embroidery project on women's factory work, inviting visitors to stitch alongside her. Hylozoic/Desires revisit the nineteenth-century salt hedge the British built in India, and Yee I-Lann weaves images of tables, emblems of colonial and patriarchal authority, into mats that symbolise equality. An opening weekend of forums, performances and participatory events runs on 7 and 8 November.