Abstract In my thesis I analyze how Hou Hanru developed and practiced his Mid-ground curatorial strategy in the Asian Biennale and Triennials. Since the biennale format developed out of western curatorial practices, it posed novel issues in its adaptation in the Asian regions. By using the Shanghai Biennale (2000), the Gwangju Biennale (2002) and the Guangzhou Triennial (2005) as three case studies, my thesis documents Hou’s efforts to create an open space, network the artistic groups, and motivate interdisciplinary collaborations to resist the pervasive Western-centric biennale format and support the local art ecology. In this way, Hou engaged more sustainable methodologies for Asian biennials based on local context. Hou’s biennale practices show that, especially in the context of a globally engaged Asia, curatorial practice must strategically contribute to building discursive space and infrastructure by working with existing agencies and entities. Asian Biennale, Hou Hanru, Mid-ground, Locality, Globalization, Alternative biennale format.