For those in Houston this week for the city’s first edition of Untitled, a must-see stop is the Asia Society Texas Center, located in the heart of the city’s Museum District. One of Houston’s landmark cultural venues, the Asia Society Texas Center is housed in an architectural masterpiece designed by Japan-born, Harvard-educated Taniguchi & Associates. At the crossroads of East and West aesthetics, it combines the rigor of contemporary international museum design with the elegance and serenity long associated with Asia. It’s the architect’s first free-standing structure in the U.S., a project that followed his celebrated expansion and renovation of MoMA in New York City a decade earlier.
With 40,000 square feet spread across two stories and a basement, the building showcases meticulously chosen materials. Jura limestone blocks, quarried and hand-selected by Taniguchi from Germany’s Black Forest, date back more than 150 million years to the Jurassic period. American cherry wood, over a century old, panels the Fayez Sarofim Grand Hall and the Brown Foundation Performing Arts Theater, chosen for its rich color and fine grain to create a warm, serene environment that greets visitors upon entry. Basaltina, the volcanic Italian stone once used by the Romans for roads and monuments, forms the ground flooring, its gray tone imparting both durability while linking the building to a lineage of monumental architecture. Appalachian white oak flooring extends throughout, adding natural warmth that balances the coolness of stone and glass.
The building’s character lies in its seamless integration with its surroundings—a hallmark of traditional Japanese architecture later embraced by modernists such as Mies van der Rohe and Frank Lloyd Wright. Its low-slung profile establishes harmony with the residential neighborhood, avoiding empty monumentality in favor of openness and accessibility. Expansive glass windows reinforce this effect while functioning as structural elements engineered to meet Houston’s building codes, designed to withstand winds of up to 110 miles per hour. Outdoor spaces extend the architectural dialogue, offering environments of harmony and beauty while hosting both temporary and permanent installations, including Lee Ufan’s sculpture on the upstairs terrace.
Founded in 1979, Asia Society Texas was created to celebrate the vibrant diversity of Asia and to champion art and dialogue as tools to counter bias and foster a more inclusive society. That mission carries particular resonance in Houston, a city that—especially in the post-war era and following the Vietnam War—welcomed a significant wave of immigrants from across the Asian diaspora. Today, Houston is home to large Chinese and Vietnamese communities, alongside growing Korean, Japanese, South Asian and Indian populations.
The idea for a permanent home did not take shape until the mid-1990s, when the Asia Society Texas Board of Directors recognized that if the then-16-year-old organization was to thrive, it needed a space of its own. In 2004, Taniguchi was chosen to design the building, and construction on the $48.4 million building began in January 2010, reaching completion in fall 2011. The resulting structure now supports a multidisciplinary program spanning visual and performing arts, language courses, lectures, culinary classes and other events designed to foster dialogue and appreciation for the cultural richness and diversity of Asia and its diaspora.
“We pursue this mission through four main program areas: performing arts, visual arts, business and policy discussions and educational activities. Together, these platforms allow us to engage audiences in a wide variety of ways—from live events to interactive learning,” Owen Duffy, curator and director of exhibitions, told Observer. As he guides us through the building, he gestures toward six interactive stations that are part of the “Explore Asia” project, where a blend of visual, textual and audio materials invites visitors to immerse themselves in the histories and cultures of five different Asian countries.
Duffy’s exhibition program follows the same principles while embracing a broad scope that spans Turkey and the Middle East through Central, East and South Asia. As he notes in our conversation, Asia Society Texas hosted 46 exhibitions last year alone—an impressive achievement for a regional institution whose program already includes collaborations with other Asia Societies across the U.S. and abroad. “We’re a global network. We’re a family,” Duffy explains.
<img decoding="async" class="lazyload wp-image-1569224 size-full-width" src="data:image/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==" data-src="https://observer.com/wp-content/uploads/sites/2/2025/08/AR522245.jpg?quality=80&w=970" alt="Gallery installation view showing a dimly lit room with five abstract and semi-abstract paintings by Hung Hsie displayed along gray walls, with warm wood flooring and a glowing central corridor framing a large, luminous ink work in the adjoining space." width="970" height="646" data-caption='An installation view of “Hung Hsien: Between Worlds.” <span class=”lazyload media-credit”>© Alex Barber</span>’>
The current exhibition, devoted to the long-overlooked oeuvre of Chinese-born, Houston-based artist Hung Hsien, was produced in collaboration with Asia Society Hong Kong, where it will travel after the Houston presentation closes at the end of the month. The first U.S. museum survey of her extensive body of work, the show pays overdue tribute to her luminous, transcendent visual language that fuses postwar abstraction with traditional Chinese painting, evoking the mysteries of the cosmos and the unseen forces that shape the flow of all things.
Also on view is “Memory Place,” an exhibition by Japanese artist Umiko Miwa. Conceived as a sculptural scavenger hunt throughout the building, the show prompts visitors to notice and value overlooked corners and details as they search for her hidden works. “She calls them Daphnes,” Duffy says. “These works resemble a kind of radical ikebana—delicate, whimsical flowers designed to wilt and dry. Visitors are given maps to help them locate and experience these pieces as they explore the space.” Inspired by Japanese traditions of animism and ancestral reverence, Miwa’s fragile interventions appear like fleeting epiphanies—ancient in archetypal resonance yet alive and organic, as if drawn directly from the flux of natural events. Rooted in the principles of Japanese aesthetics while speaking across cultures, Miwa’s exhibition engages audiences of all kinds, resonating particularly with children.
The project exemplifies a site-specific approach, with artists invited to respond directly to the space—a principle that has also guided Asia Society Texas’s residency program, which was paused this year after running for five years. “It originally began as a response to COVID, at a time when no one was coming into the building. Now feels like the right moment to recalibrate the program for a different context and set of needs,” Duffy explains, noting that the team is considering evolving it into a more holistic fellowship program, one that better reflects current realities, supports artists in a broader and more sustained way, and deepens connections with the local community.
An exhibition program shaped by Houston’s diversity
According to Duffy, the program is always developed in dialogue across teams so the visual art side aligns with other activities. “Before any show goes on the calendar, I discuss it with colleagues. I lead the exhibitions committee, and I also work closely with our president, Bona Poll,” he says. “When it comes to artist selection, the balance is crucial, but the first and most important criteria is mission alignment: will this exhibition enhance our mission? Will it engage Houston audiences? Does it address a region, topic, or theme of strategic importance, especially in light of current events? And is it telling a story that needs to be told?”
Audience diversity is always central. “Our audience is really diverse—it reflects Houston itself. Some attendees are attracted by the cultural specificity of the program, while others simply come because they’re passionate about the art form. We also offer language courses—right now we’re running Korean classes, which have grown in popularity with the rise of Korean culture—and that draws in another segment of Houston’s community at large.”
A few times a year, Asia Society Texas stages large festivals that bring all its strands together. In November, for example, the entire parking lot and front lawn are transformed into a night market. “We close the street, welcome about 10,000 people and spotlight AAPI-owned businesses, vendors and food. Events like that really bring everyone out,” Duffy says.
Its geographic location within the city also plays a role. Positioned on the edge of Houston’s Fifth Ward and Third Ward—both historically Black communities—Asia Society Texas sits at a natural crossroads. “With neighbors like Project Row Houses just down the street, the full diversity of the city naturally finds its way through our doors at some point.”
Yet everything ultimately circles back to the mission: soft power, cultural exchange, education and diplomacy. “Our goal is to create a more interconnected world—one where audiences can better navigate our shared future between Asia and the rest of the world.”
As such, Asia Society Texas occupies a distinctive position compared to organizations that focus on a single country or community, such as the Chinese Community Center or the Japan-America Society of Houston. “We celebrate the full range of Asian cultures. That means cultural partners can reach new audiences.” A Chinese partner, for instance, may find fresh engagement from visitors also drawn to South Asian or Japanese traditions.
The building remains one of Asia Society Texas’s greatest assets. “Walking through it, you immediately sense that it’s a work of art in its own right. It offers potential partners and audiences a sense of a new and inspiring platform.”
As a 501(c)(3) nonprofit, Asia Society Texas receives little government funding, relying instead on private donors, corporations, foundations and earned revenue. “We sell a lot of tickets to events and exhibitions, so it’s a healthy mix—really no different from most museums,” explains Duffy. “We do have good revenue streams, but like any nonprofit, we still depend on donor dollars and partners. Support comes not only through donations but also through our fundraising events—like our annual gala, the Tiger Ball. It’s considered by many the best party in Houston,” he adds, describing how the parking lot is transformed with tents and decorations. “Our staff even hand-tie silk flowers to all the trees, creating a truly spectacular atmosphere.”
The role of Asia Society Texas in Houston’s art ecosystem
Despite the specific mission guiding Asia Society Texas’s programming, the institution remains closely tied to Houston’s broader cultural landscape. “Other institutions often come to us for partnerships—whether performing arts organizations or other cultural groups—because they see us as a platform that can help extend their reach,” Duffy says.
Reflecting on Houston’s art community, Duffy—who recently relocated from New York for this role—describes it as multilayered and spread across different hubs. “Houston is often described as a ‘multi-centered metropolis,’ meaning it doesn’t have a single dense downtown but rather a series of hubs where people live and gather. Its art scene just reflects that.”
A few distinct art districts stand out in the city: the Museum District, where Asia Society Texas sits alongside major institutions, and areas like Silver Street Studios, which support independent local artists. “What I find fascinating is the way artists live and work here. It’s not the stereotypical starving-artist-in-Bushwick model,” Duffy says. “Instead, you might have an artist living with their family in a three-bedroom house in Sugar Land, working out of a garage studio in a suburban development—yet showing internationally. There’s more space here, and the cost of living is lower, so it’s easier to own a home or even maintain a multi-generational household.”
At the same time, Houston’s geography poses challenges for visibility and accessibility. “The city is sprawling, with very few natural barriers, so creating a cohesive art map for visitors can be difficult,” he acknowledges, noting that this sprawl is both an obstacle and an opportunity for institutions seeking to connect across disparate communities. These dynamics—and the difficulty of building a cohesive network—are among the reasons the city’s scene has historically been overlooked, despite its steady growth.
Now, three years into living in Houston, Duffy sees a city in transition. With rapid population growth and new arrivals, the art scene is still finding its identity. “With Untitled launching in Houston, people are optimistic that it could create something like an art week here.”
In that spirit, Asia Society Texas Center is participating in Untitled’s inaugural edition with a booth presenting new and recent paintings by Houston-based artist Gao Hang. His post-digital works, shaped by pop culture and filtered through retro video game aesthetics, resonate especially with younger and millennial collectors. Proceeds from sales will directly support Asia Society Texas’s exhibitions program.
Hang’s work will also appear in the upcoming exhibition “The House of Pikachu: Art, Anime, and Pop Culture,” opening in October. As one of the first institutional exhibitions in the U.S. to examine the long-standing and far-reaching influence of Japanese animation on contemporary art, the show will bring together a diverse group of artists from Japan, Brazil, China, Mexico, Côte d’Ivoire, Texas and beyond—underscoring the truly global reach of anime. Among its highlights will be Yoshitomo Nara’s larger-than-life sculpture Your Dog, which is expected to draw significant crowds.
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