Evan Chow, one of Hong Kong's most prominent art collectors and cultural patrons, has built an impressive collection of over 500 works that bridges his traditional Chinese upbringing with contemporary international art. Born into the prestigious Li family of bankers, Chow grew up surrounded by Chinese ink paintings, antiques, and ceramics, which laid the foundation for his lifelong engagement with art.
Chow's family lineage is deeply intertwined with Hong Kong's modern history. His great-grandfather, Li Tse Fong (1981-1953), co-founded the Bank of East Asia with his older brother Li Koon-Chun (1887-1966) in the early 20th century when Hong Kong was transforming from a colonial port into a modern city. The Li family is among Hong Kong's "big four" families, known for their significant contributions to business, banking, government, and the judiciary.
Today, Chow continues this legacy through both finance and culture. As managing partner at MCL Financial Group Ltd. and founder of Chow Enterprise Group (CEG), he also serves on the boards of several international institutions, including the Hong Kong Arts Centre, New Museum, and the Tate. He is a founding patron of M+, Asia's most visited museum, and established the Evan Chow Art Prize at The Chinese University of Hong Kong in 2023.
"Over time, I began to see that my role could also be contributing to the ecosystem around art," Chow explained. "Legacy is a big word, and not something I think about often. For me, it is more about being present with art and supporting artists in the moment. If anything carries forward, I hope it is simply that the works continue to be seen, shared, and cared for."
Chow began collecting art in the early 2000s while working in investment banking. His first acquisition was a print from Chinese artist Zhang Xiaogang's seminal Bloodline series, marking an independent gesture despite his family's 19th-century collecting tradition. His current collection features works by internationally acclaimed artists such as Tschabalala Self, Yayoi Kusama, Wolfgang Tillmans, and Jadé Fadojutimi.
"Growing up surrounded by my family's collection of Chinese works of art and ink paintings gave me an early sense of what it means to live with art and to care for it across generations," Chow reflected. Throughout his collection, there is a clear focus on clarity and simplicity, which he believes carries profound meaning when treated with care.
This philosophy naturally led Chow to develop what he calls "an affinity for Minimalism." His collection includes works by legendary Minimalist artists such as geometric abstractionists Bridget Riley and Tomma Abts, as well as Donald Judd. "[Judd's] clarity and discipline, the rigor of his structures, showed me that collecting is not about having more things but about engaging with ideas that can change the way we see space and form," Chow said.
One piece that particularly reflects his collecting philosophy is "Issu du feu 2b" (2000-2001), a charcoal work by Korean artist Lee Bae. "In this sense, the artwork is not just an object, but a quiet motto about resilience, care, and meaning that can last across time," he explained. Chow connects Bae's use of charcoal to the ancient Chinese text Dao De Jing, noting how it "evokes the cycles described in [the book]: life and death, presence and absence, fullness and void."
For Chow, Minimalism offers an appealing sense of order. "What speaks to me is how it strips away excess to reveal structure, showing the essence beneath complexity," he said. "It is not about being cold or detached; it is about finding clarity through complexity." This is exemplified in Judd's "Untitled" (1991), an anodized aluminum box that meets viewers at eye level, offering an unmediated view of its vibrant interiors.
However, Chow also embraces works that break from strict minimalist principles. He collects pieces by Hong Kong-based artist Wong Ping, whose practice spans animation, sculpture, and immersive installations. "Wong Ping speaks to something closer to home," he said. "His surreal, sometimes absurd storytelling reflects the spirit of Hong Kong today—playful, sharp, and a little uneasy."
Similarly, Sarah Crowner's sewn canvases feature prominently in his collection. "Her work makes clear that abstraction is never static," he explained. "The way she pieces her compositions together gives abstraction a sense of movement and texture, showing how historical forms can be reimagined to feel alive and contemporary."
Chow's collecting journey has coincided with Hong Kong's rapid emergence as a global art hub. He became an early presence in the city's contemporary art scene, particularly with ArtHK, an art fair launched in 2008. The fair's success led to Art Basel's acquisition in 2013, creating Art Basel Hong Kong and marking a defining moment in the city's transformation into an art capital.
"The art world has become much more dynamic and interconnected over the past decade," Chow recalled. "In Hong Kong, I've noticed a greater diversity of artists and practices, and more platforms where their work can be seen. Collectors here are also engaging with art in more varied ways, not just through acquisitions but also by supporting institutions, programs, and educational initiatives."
This evolution has significantly influenced Chow's collecting approach over the years. "My choices are guided less by trends and more by whether a work resonates and by the kind of dialogue it creates with history, with the present moment, or with other voices in the collection," he said.
For younger collectors, Chow offers simple but meaningful advice: "I've found that even small gestures can mean a lot. From my experience, a lot of it is simply about being present, showing up at exhibitions, taking the time to listen to artists, and engaging in what they are doing." This philosophy of presence and engagement continues to guide Chow's approach to collecting and supporting the arts today.
