“Under Construction” is not a debut exhibition for TANK Shanghai. Instead, it is a project introduced in the spirit of ongoing building, progress, and construction. It is an experimen- tal gesture that engages with a museum still coming into being, both in the architectural and curatorial sense. The exhibition revisits and propels the practices of some dozen of China’s best-known and most rigorous artists, emphasizing the experimental nature of even our most recognized names through the inclusion of works or bodies of work that are, to various extents, obscure, largely unknown, unfinished, or even obsolete. By reevaluat- ing works that have been ignored by art history and even sometimes the artists them- selves, we aim to explore the concept of incompleteness in relation to the past, present, and future. As experiments made early in artists’ careers—tryouts and tests indefinitely suspended—or recent and perpetual struggles with themselves, these works stuck forever in progress constantly attempt to break away from what they are aesthetically, formally, methodologically, and ideologically. Being incomplete ("never complete”) can signify an absolute absence of future possibilities; in contrast to the artists’ representative work, the games and plays exhibited here appear casual and relaxing in nature, indulgences for which exhibition may have once been out of the question. Being incomplete can also signi- fy a stubborn anticipation of the future: an uncertain, perpetually changing hope for mani- fold future possibilities. TANK Shanghai seeks to arrive not at a specific future, but at a present moment during which numerous futures might blossom together at once.