The show focuses on society's size fetish. 'From bra size to wallet thickness, building height to concert duration, movie budget to the dimensions of an artwork, massive scale has captured the imagination of the world,' says artist-curator Lee in his exhibition notes.

He says later: 'To aim for and achieve big is seen as good and right, while any vision or outcome less than enormous seems relatively meek, uninspiring and ineffectual. The art world even has words like 'monumental' and 'sublime' to justify its fascination with the gigantic. Going small is both a resistance against the dominant size fetish, as well as a celebration of the immense time and skills involved in producing and experiencing a tiny but well-crafted art object.'

Contemporary artists are fascinated with small things. Lee cites some that have influenced

him: Tom Friedman's head sculpted on an aspirin, Maurizio Cattelan's mini-furnishings.

Although they are linked by their diminutiveness, the works on display are not lightweight in terms of ideas. Themes range from the sentimental to a tongue-in-cheek corporate serfs' manifesto.

Li Loi-yau's miniature model of a sports shop (22.7cm x 40cm x 29.5cm, 2001) is a gift to her young son, calling into play notions of hand-making presents in an age of speed, technology and online shopping. Singaporean Chun Kai Feng's model, Blanket And Crib (65 x 55 x 50cm, 2006), is a fenced-in observation post that incorporates a 3D version of Vincent van Gogh's bedroom at Arles. The model, unlike van Gogh's painting, is bleached of colour, and can be read as a comment on the artist's struggle to be a creative individual, detached, connected to, and even trapped by, a community.

Briton Debbie Hill's portraits of 'fallen' stars such as troubled pop singer Spears on chewing gum is both symbolic of the disposable nature of these manufactured entertainers, and a sticky reminder of how we hold these 'role models' up to tougher moral scrutiny.

There are also installations comprising hordes of small things, which amass to make a big impact. Lee arranges paper cut-outs of himself as a worker in various attitudes of lazing. UK-based Suki Chan built a village of miniature houses. And aircrew-member Esther Yip Lai-man's colourful figurines tread the line between hobby and commercial toys.

Then there are the pieces which are unconventionally small. Sin:Ned's one-minute sound recordings are fragments of effects, noise and ambient sounds. Chow Chun-fai shows a video spliced together from painted stills of scenes from the film Infernal Affairs. Tang Kwok-hin's beer cans and bottles are scraped of their labels, until only lone, random objects are left behind.

Hong Kong- and Berlin-based artist Cornelia Erdmann offers a series of drawings of ordinary household furniture. Drawn on slides which are then mounted on light tubes on a low ceiling, these sketches are 'upholstered' in wallpaper patterns Erdmann copied from abandoned buildings.

Lee says: 'Domestic affairs can stir intrigue, no doubt, but the voyeur here needs to pay his dues.' He says part of the appeal and joy of witnessing these small works is that viewers need to take a long time and even contort their bodies to savour the details.

'Encountering tiny objects, people psychologically feel bigger than usual, like Gulliver looking at the Lilliputians,' Lee says.

'Such a mental shift stirs the viewer to think about issues of power and control. Small beings may seem fragile to attract sympathy, but they may in fact be more powerful than larger beings.'

Eniminiminimos, Studio Bibliotheque, Room 1812, Block B, Wah Luen Industrial Centre, 15-21 Wong Chuk Yeung Street, Fo Tan, New Territories, today from 2pm to 8pm