In a letter to the South China Morning Post, a museumgoer bemoaning the apparent self-censorship of China-critical art described M+ in Hong Kong, where Raffel is director and Chong is chief curator, as a ‘battleground’. The correspondent was writing of Another Story, the second showcasing of the M+ Sigg Collection – which was billed as ‘art for art’s sake’ but in reality featured political works by the likes of Ai Weiwei and Liu Wei. Uli Sigg, the Swiss collector who donated the work, admitted that, in light of the National Security Law, ‘It is now up to Hong Kong’s institutions to test how much breathing space that may entail’. The debate hasn’t harmed footfall, with 2,034,331 visitors in 2022 and The Art Newspaper predicting over three million in 2023. They came both for the museum’s layered showcasing of its collections of art and daily design objects, and for a retrospective of Song Huai-Kuei, the Chinese cultural icon known as Madame Song; a restaging of Angela Su’s Hong Kong Pavilion from the Venice Biennale; and, in December, a solo show of Japanese artist Ay-O.