As this story was being written, an email appeared in the writer's inbox bearing the subject line: "We are Live: Robin Rhode &Nari Ward－Online Viewing Room is Now Open". It was Lehmann Maupin Hong Kong, promoting its new show and flashing with more graphic-design tricks than Adobe. In a nutshell, you can whet your appetite online before seeing the show in person at the gallery until May 16. We took the "viewing room" route and while it was at least better than seeing no art at all, the "visit" and the technology felt abstract and, yet again, aimless.

Which is undoubtedly why Hong Kong galleries such as de Sarthe (showing Shifting Landscapes by Andrew Luk and Chu Teh-Chun) and Blindspot (with its Anonymous Society for Magick, curated by Hong Kong's own "super-curator" Ying Kwok) were, as of the time of writing, pushing ahead with real-life openings on April 11 as part of South Island Art Day.

Both galleries issued recent warnings about the precarious nature of visiting in these times of the hottest new phrase, social distancing: "To ensure the health and wellbeing of our staff and guests, we will take the following safety precautions: visitors will be asked to complete a health declaration and have their temperature checked on arrival; hand sanitiser will be provided at reception for visitors to use; and we kindly ask that those who have traveled within the last 14 days to refrain from joining the event."

It makes us consider, last but certainly not least, the plight of staff in these real-world galleries having to adjust to digital viewing demands. They must now find new means and ways to attract customers, both familiar and new, by crossing the content gain line. Ways of seeing, selling and creating art are changing. Will the next 12 months shape the next chapter of art history?