Comprising of millions of sunflower seeds, these look like the real deal but are actually made of porcelain, each was individually handmade by Chinese artisans in Jingdezhen, a city in China historically known for its porcelain industry. Ai’s intention? To challenge the long-held notion of “Made in China” and its typically negative connotations.

In this work, the space itself literally becomes the art — instead of the usual practice of putting art into a space. The famed Icelandic-Danish artist reconfigures the space using mono-frequency lights to transform it into a room filled with a single colour — while it sounds like quite a simple idea, it perfectly adheres to the concept of Minimalism. Be forewarned though, it can be quite a disorienting experience.

What looks like a cube of hanging threads from afar is actually rods of barbed wire — 441 in total.

Inherently pretty, this installation by Australian artist Peter Kennedy is a surefire hit just based on visuals alone… Which makes us wonder, was it ahead of its time?

Cambodian artist Sopheap Pich makes a critique of global trade i.e. capitalism with his life-sized installation that’s meant to appropriate shipping containers, which typically hold innumerable goods. His are see-through instead and hold only air — “revealing the relationship between what is inside and what is outside.” Clever.

Mega Death sounds like an odd title but it refers to the immense number of lives lost during the 20th century due to man-made factors such as wars. (In case you’re interested, it’s estimated to be at least 108 million.) The LED numbers count down from nine to one — skipping zero in the process — that refers abstractly to the Buddhist cycle of life and death.

This piece is meant to resemble the eponymous celestial entity it’s named after — in reality, Haumea is a dwarf planet that orbits the Sun far beyond Neptune. Due to its fast-spinning nature, the planet is actually shaped like an oval rather than the traditional sphere.

Inspired by the famous rock gardens of Japan, Palestinian artist Mona Hatoum’s installation looks like a clock but it’s really quite existential. The arms simultaneously create and erase concentric circles in the sand, meant to signify existence and non-existence.