Time and how history unfolds have long been preoccupations of the artist: ‘The true medium I work with is time itself. After all, one could say that moving images like films and videos are just attempts to give shape to time,’ he explained as he opened his touring midcareer survey, Time & the Tiger, at Mudam, Luxembourg, in February. The show has been touring internationally since 2023, from Singapore to Seoul to CCS Bard in New York; it’s now at the Hamburger Kunsthalle. Central to the exhibition is T for Time (2023–), multiple screens depicting collected stories and narratives reproduced in animated forms that are edited in real time by an algorithm producing a unique version of the work each time. Ho’s fragmented installations often address the layered multiplicities of Southeast Asian cultures, instilling the sense that history is only a shared illusion. While often drawing on theatrical and documentary techniques, recent works have made increasing use of the possibilities of digital animation, often featuring the titular tiger as a shifting symbol for both Indigenous mythologies and the colonial imagination of Asia. Alongside a show of recent works at Kiang Malingue in Hong Kong, this year the artist turned to AI for Night Charades (2025), a collage of reimagined scenes from the 1980s and 90s Golden Age of Hong Kong cinema, rendered for three months across the 110m-wide facade of the M+ museum, Hong Kong. The cinematic recasting of reality is also at stake in his current show at LUMA Arles, Phantom Day and Stranger Tales, where Ho reinvented, with AI, his own planned, but never finished, feature film of alternative timelines and hybrid fantasies from 2011. Ho’s embrace of technology as a codirector and collaborator in continually recasting history, providing, as he puts it, a ‘multiplicity of different ways to understand histories, but also multiple possible ways to tell the story’, has become quietly influential, an attitude that is manifest both in exhibitions of his own work and in his increasing demand as a curator. Ho, who curated the 2019 Asian Art Biennial in Taiwan, turns to the historically charged Gwangju Biennale next year. After taking part as an artist in the 2018 and 2021 editions of the South Korean event, he lands in 2026 as its artistic director.