Silverlens is pleased to participate in Art Basel 2025 across three sectors, featuring works by Patricia Perez Eustaquio, Taloi Havini, and Martha Atienza. Across the practices of these artists from the Asia Pacific, we encounter not just representations of economy but artworks that operate within, and against, material systems of valuation. They make visible the social lives of materials long assumed to be mute, resisting their flattening into commodity, even as they circulate within spaces of market exchange.

In 'Everyday is Like Sunday,' Corinne de San Jose responds to a growing dissonance in traditional strongholds of meaning—faith, science, institutions—by turning to silence as both an act of resistance and a form of refuge. Through a collection of sound-based works that transcend conventional notions of narrative and composition, she proposes an alternative way of holding belief, allowing silence to create the space where a shared sense of meaning might be recovered in an increasingly loud and fragmented world.

Pioneering feminist artist Imelda Cajipe Endaya stages her first solo exhibition in the U.S. in nearly 20 years, 'There is Still a Tomorrow, Mother,' curated by Eugenie Tsai at Silverlens New York. The show features works spanning from 1982 to 2023, and captures what the artist has focused on for nearly half a century: the role of Filipino women through the arc of history.

In the Silverlens New York Viewing Room, conceptualist Poklong Anading presents 'deep in the shallows, afloat in the depths (lumalalim sa kababawan, lumulutang sa kalaliman).' Marking the artist’s first U.S. solo exhibition, the show features a new sculpture and video installation that reflects on humanity’s impact on marine ecosystems and the possibilities of both damage and renewal.