Gyun Hur is most known for her compositions of shredded silk flowers, meticulously arranged to mimic the patterns on her mother’s wedding blanket. In recent years, the Korean-born, Atlanta-based artist has moved away from this distinct motif, employing a new palate and turning the flowers—believed in Korea to drive out bad luck—into colorful mounds with objects, such as broken pottery, stone and plants, buried within each. The narrative quality of her installations extends into performance as well. While on residency at Artadia in Dumbo, New York, Hur staged a one day event, in which she and her father set up an optical store modeled after the actual store of the her childhood and invited audiences to peruse and interact with dozens of vintage glasses frames. Hur sat down with ArtAsiaPacific to discuss memories, process and the importance of family.

The Speech Writer by New Delhi and Karachi-based Pakistani artist, Bani Abidi, is a fictional account of a day in the life of a retired political speechwriter, in ten sequential flipbooks. Snugly encased in a rectangular yellow box, each of the palm-sized books, devoid of text, speaks to the fallibility of language.

For over two decades, Thai artist Pinaree Sanpitak has been creating art that interprets the human form. Her latest installation was inspired by the severe floods that swept through Thailand in 2011, ravaging more than two thirds of the country and during which Ms. Sanpitak herself was forced to swiftly relocate from her studio and home in Bangkok to just outside the city. Induced by a feeling of uncertainty, and with the limited materials she had access to, the work consists of 18 dangling handmade hammocks expressing the human desire for comfort and the triumph of creativity in the midst of disaster. ArtAsiaPacific sat down with the artist to discuss her projects and the latest iteration of Hanging by a Thread (2012) currently on view at the Los Angeles County Museum of Art (LACMA), which seems to have found a balance, now that the proverbial dust, or water, has settled.

Elizabeth Ann Macgregor, director of Sydney’s Museum of Contemporary Art, Australia (MCA), has put in place a new management team in what she described to ArtAsiaPacific in May as a “radical restructure of personnel,” in order to support the museum’s move toward digital technology and e-publications and to promote the MCA as a destination for visitors.

Palestinian photographer Ahlam Shibli’s show “Phantom Home” at Paris’s Jeu de Paume museum is as much an exercise in reading as it is in looking.