In an unorthodox gesture, Le Quang Ha — the enfant terrible of the Vietnamese contemporary art — opened the doors of his studio to the public for his latest exhibition, titled Bo Ho Painting.
For the ten days of its duration, Le Quang Ha’s exhibition Bo Ho Painting, its physicality and the manner of its presentation, together with its thematic content, had led to and navigated the space in between the commonly established outlines of the private and the public in the social space.
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