Recently, major media outlets including The New York Times, the international contemporary art platform Ocula, and ARTnews have extensively reported on the large-scale restructuring of Pace Gallery, one of the world’s leading mega-galleries. In particular, remarks by Pace CEO Marc Glimcher describing the current gallery model as not merely “broken” but effectively “unfixable” have sent ripples throughout the global art world.
2026.06.09
Fine art engages with society, the market, and institutions, but its mode of existence cannot be reduced to commodity production or the provision of services. An artist is not someone who produces works in order to satisfy the demands of a specific customer, and an artwork is not a product made to provide functional utility
2026.05.26
On April 30, 2026, all five members of the international jury for《In Minor Keys》, the 61st International Art Exhibition of the Venice Biennale, resigned just nine days before the exhibition’s opening. Led by jury president Solange Oliveira Farkas, the jury members Zoe Butt, Elvira Dyangani Ose, Marta Kuzma, and Giovanna Zapperi released a brief statement of resignation through e-flux.
2026.05.12
Over the past few years, the landscape of the Asian art market has been rapidly reshaped. Seoul has drawn increasing attention from the international art world through Frieze Seoul, Kiaf Seoul, and Seoul Art Week, while Hong Kong, despite political changes and the impact of China’s economic slowdown, continues to maintain its position as a powerful transactional hub.
2026.04.28
One of the most striking phenomena in the recent Korean art world is the rapid increase in the number of art fairs. Not only in Seoul, but across the country—in Busan, Daegu, Ulsan, Jeju, Cheongju, and elsewhere—art fairs of differing scales and characters are being held throughout the year. In April of this year alone, as many as four or five art fairs took place almost simultaneously.
2026.04.14
Non-profit art spaces in Korean contemporary art began to emerge in the late 1990s. Spaces such as Alternative Space Loop (1999– ), Project Space Sarubia (1999- ), Art Space Pool (1999–Jan 2021), and Insa Art Space (2000–Jun 2025) functioned as platforms for experimental practices and emerging artists that were not accommodated within institutional art, forming a structure that explored new possibilities for artistic production both outside and within institutional frameworks.
2026.03.31
Moving beyond Orientalism entails more than shifting the center from the West to Asia. It requires transforming the structure through which particular actors have classified and evaluated the art of other regions, while developing new values and criteria grounded in diverse histories and experiences. What is needed is a new system of knowledge—one that recognizes the achievements of Western art history as a shared global legacy without treating them as the sole standard of judgment.
2026.09.08
BTS emerged in Korea and developed within the cultural and industrial framework of K-pop. Yet the market in which its music is produced and consumed, as well as its audience and influence, moved beyond Korea’s geographical boundaries long ago.
2026.08.25
“Asian contemporary art” does not refer to a single shared style or aesthetic. Korea, China, Japan, and the countries of Southeast Asia each have distinct histories, political and social conditions, art institutions, and markets.
2026.08.11
The Anachronism series began by examining how Korean art has continued to understand and organize itself under changing conditions through languages, institutions, and models of success inherited from the past. It considered the recurring tendency to reproduce earlier
2026.07.28
A fundamental problem in Korean art history remains insufficiently resolved: the criteria by which its historical periods are distinguished. When did Korea’s modern period in art begin? What does hyeondae misul—the category conventionally called “modern art” or “contemporary art” in Korean—actually signify, and where does it begin? And from what
2026.07.14
The previous two essays examined the anachronism of Korean contemporary art. The first identified the problem of explaining the present through the languages of the past. The second examined the structure through which past models of success continue to be repeated as strategies for the future.
2026.06.30
