Artist Wawi Navarroza discusses The Orchid Pavilion and its connections to Philippine history, cultural exchange, and the Manila Galleon. Joined by Tenten Mina, Ayala Museum Curator & Senior Manager for Research and Publications, and Meah Ang See 施吟青, Director of Bahay Tsinoy, Museum of Chinese in Philippine Life, the conversation explores Oriental ceramics, Philippine-Chinese history, and Filipino identity on 12 September 2026, from 2:30–4:30 PM.

The Berkeley Art Museum and Pacific Film Archive (BAMPFA) will host MATRIX 290 / Keka Enriquez, marking the San Francisco-based artist’s first solo museum exhibition in the United States. On view from December 9, 2026, through April 25, 2027, the exhibition features eight new large-scale, expressionistic paintings created during her residency at the Headlands Center for the Arts, signaling her return to painting following a two-decade hiatus.

The Coconut Tree Methodology is both reflection and proposition: to sense the world and grasp the changes that are shaping it right now. For Martha Atienza, that world is anchored to the Bantayan Islands in Cebu, where the Dutch-Filipino artist was in part raised, bearing witness to coastlines being transformed by rising sea levels: a fact that Atienza has diligently documented as a central facet of her award-winning transdisciplinary practice. This exhibition comes on the heels of her recent recognition at Art Basel in Switzerland, where her Bantayan-based, artist-led platform, GOODLand, was awarded the inaugural 2026 VISIBLE Situated Fellowship, supported by ZEGNA.