In January, Johnson Chang and Li Xianting’s exhibition China’s New Art, Post-1989 opened in Hong Kong (January 31–February 25, 1993). An abbreviated version of the exhibition traveled later that year to Australia under the title Mao Goes Pop: China Post-1989 (Museum of Contemporary Art, Sydney, June 2–August 15, 1993). Andreas Schmid, Hans van Dijk, and Jochen Noth’s exhibition China Avant-garde started at the Haus der Kulturen der Welt in Berlin (January 30–May 1993) and traveled to the Kunsthal Rotterdam (May 29–August 22, 1993), the Museum of Modern Art, Oxford (September 4¬–October 24, 1993), and Kunshallen Brandst Klædefabrik, Odense, Denmark (November 12, 1993–February 6, 1994). Silent Energy, co-curated by David Elliot and Lydie Melpham, was shown at the Museum of Modern Art, Oxford (part 1: June 27–August 29, 1993; part 2: September 5–October 24, 1993). In June 1993, fourteen Chinese artists participated in a special exhibition titled_ Passage to the East_ at the Venice Biennale. Four Chinese artists were featured in the experimental Aperto section of the Biennale, and Chinese critic Kong Chang’an served as a member of the Aperto curatorial team. Two exhibitions were focused specifically on the diaspora: David Elliot and Lydie Mepham’s Silent Energy: New Art from China, held at the Museum of Modern Art, Oxford, and Gao Minglu and Julia F. Andrews’s Fragmented Memory: The Chinese Avant-Garde in Exile, at the Wexner Art Center in Columbus, Ohio.