The projection is flanked by sheer curtains; a radio on the gallery floor next to an empty chair blasts the cloying 1939 British ballad We’ll Meet Again. Evoking vigils and protests, its centrepiece, an enlarged candlelike form, displays a three-dimensional video flame that flares when viewers approach. Nearby, two common dinner plates feature thinly decorative designs generated by spinning a representation of the bauhinia, an orchid that serves as Hong Kong’s primary symbol, appearing on currency, on the regional flag and at pro-democracy demonstrations. The works engender none of the fear, exhilaration or solidarity of vigils or protests. Ellen Pau: She Moves at SculptureCenter, New York, 28 May – 16 AugustRead next Michele Chu: “In Hong Kong There’s an Undercurrent of Loss”