When nine works slated to appear in Leung Chi Wo’s retrospective in Shenzhen (the Chinese border city to Hong Kong) were held up in Chinese customs, the artist decided instead to display vinyl outlines of the missing works, identified by accompanying captions. While the incident was adventitious, Leung’s ensuing reaction was not; it resonates with his long-standing interest in the fissures of Hong Kong’s sociopolitical structures and the city’s fraught relationship with mainland China. The staging by OCT Contemporary Art Terminal (OCAT) of the Hong Kong native’s survey show beyond the city’s