It is a picture of health, wealth and happiness. An attractive couple dressed in opulent evening wear sip champagne and frolic about on a lush green lawn. But then, the couple pack their meagre things and climb into their pushing cart and mobile home. In the witty video and installation work called Famiglia Grande, now showing at the Hong Kong Museum of Art, artist Kacey Wong portrays a world in which a middle-class family has lost everything in the economic downturn and now live on the streets, pushing their home around with them. 'I'm imitating and poking fun at those adverts you see on TV for luxury apartments or designer goods,' Wong says. 'But in my piece, the father worked in the financial world - at Lehman Brothers, for example - and now they have nothing but the clothes they are wearing and these moveable carts that can be turned into folding beds.' The themes of social and environmental change and how people are affected by the world around them is strong in the New Vision: New Colours exhibition, which runs at the museum until April 25. The exhibition features 13 sets of artworks selected from the museum's collection in addition to recent works by Hong Kong artists. Through their works, the artists express their concern for the environment of Hong Kong and wish for the future in new, multicoloured visions of our world. The curator of modern art at the museum, Ivy Lin, says environmental protection is an issue of global concern in the 21st century, and the exhibition was organised to raise public concern over the issue. Exhibits include the photograph series, Artificial Landscapes Series, by Almond Chu. His large, stunningly clear photographs capture images of the man-made structures that have transformed the natural landscape of Hong Kong: landfills, water tanks and recycling centres. Global Warming, a large painting by Lam Tung-pang, depicts glaciers slowly thawing and leaving a polar bear stranded on a small patch of ice. Some of the works are more personal. Chu Hing-wah shares his memories of a happy childhood, despite its difficulties, in My Days in Temple Street, while Choi Yan-chi instals a camera obscura in her artwork and screens video footage of a beautified and revitalised Kai Tak waterway. Choi's work suggests urban development can positively transform areas of the city. Kingsley Ng's work, Distilling Kwun Tong, symbolically charts the transformation of Kwun Tong from its early days as a salt field, through its years as a polluted industrial zone, to its status now as a shopping hotspot. How people interact with each other and the world around them by communicating through language is another theme tackled in the exhibition. Luke Ching's video work is comprised of clips of 400 one-on-one Cantonese classes the artist conducted in his studio in New York City to teach visitors the Cantonese enunciation of 'I Love You'. 'Luke Ching presents Easy To Learn Cantonese Chapter I: Ou Oi Lei (I Love You) in vernacular Cantonese. By conveying the inanity in modern dialogues, he invites us to rethink the true meaning of the words,' Lin says. The New Vision: New Colours exhibition is a prologue to two art shows the museum will organise in Shanghai to coincide with the Shanghai World Expo 2010. These shows will feature ink art and interdisciplinary art by Hong Kong artists. The museum aims to present to the world the traditions of Chinese humanitarianism and its recent developments through this combined effort, Lin says.