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As civil society grows in post-colonial Hong Kong, participatory art has registered a heightened local consciousness, the desire to be autonomous and attempts to resist various kinds of hegemony in the 2000s and the 2010s. This essay aims to provide an empirical base for further studies by examining exemplary works, namely Complaints Choir of Hong Kong, Stephanie Sin's Super Warm, Kacey Wong's Instant Skyline, artwalker's West 9 Dragon and the practice of Woofer Ten. I analyse how committed artists have treated form with an openness that is critical for art to take a more active part in society.
Stephanie Cheung (2015) studied this question.
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