JAN 8 - FEB 17, 2026 Intro Catalog Installation Views Next [C1] New York The Mark of Time: Tracing the Origins of East-West Abstraction JAN 8 - FEB 17, 2026 Ed Moses / Cho Yong Ik / Kim Kang Yong / Jimi Gleason INTRO The Mark of Time presents abstraction not as a singular style or a linear art historical outcome, but as a way of thinking that emerged simultaneously across different cultural contexts. Rather than positioning East and West in opposition or simple comparison, the exhibition traces how artists working within distinct environments and traditions have shared fundamental questions surrounding time, material, and action. In this exhibition, abstraction is understood not as a formal solution, but as a method of recording and accumulating experience. What appears on the surface is less a finished image than a residue of time spent, gestures repeated, and decisions made and unmade. The exhibition unfolds through two interconnected dialogues. The first dialogue brings together the practices of Ed Moses and Cho Yong Ik, examining abstraction as a trace of time. For Moses, painting is not a means of representation, but an event shaped by action and choice. His canvases retain not only visible brushstrokes, but also erased gestures, hesitation, and the duration of the painting process itself. Similarly, Cho Yong Ik’s work is formed through repetition, restraint, and a disciplined, almost meditative approach. His paintings do not arrive at an image all at once, but gradually accumulate density through sustained and deliberate acts. For both artists, abstraction becomes a vessel that holds the sensation of time rather than a depiction of visible form. The second dialogue connects the works of Kim Kang Yong and Jimi Gleason, extending abstraction into a constructed world of material. Kim Kang Yong’s brick paintings are the result of accumulated labor, weight, and time layered meticulously onto the canvas. While they resemble physical structures, they function not as representations, but as painterly investigations into material, structure, and illusion. Jimi Gleason similarly builds his surfaces through repetitive gestures and layered paint, allowing resistance, reflection, and material tension to shape form. In their works, abstraction does not signal an escape from reality, but a means of forming memory through material presence. Through these parallel conversations, The Mark of Time reveals abstraction as neither a regional invention nor a culturally isolated phenomenon. Time leaves traces, materials hold memory, and actions continue to resonate beyond the moment of their execution. Opening Gallery Chang’s 2026 exhibition program, this exhibition serves as a point of departure for reconsidering abstraction’s shared origins and the depth of human thought that transcends geographic and cultural boundaries. CATALOG View Catalog here INSTALLATION VIEWS

May 7 - Jun 8, 2024 Intro Catalog Installation Views Next [C1] New York REVEALING May 7 - Jun 8, 2024 Moon Insoo INTRO New York, NY – Gallery Chang is pleased to present Revealing: Moon Insoo, the debut solo exhibition of Korean artist Moon Insoo in New York City. This exhibition showcases a series of paintings and sculptures created by Moon Insoo over the past 40 years, employing various sizes and techniques. After graduating from Seoul Arts High School and obtaining both BFA and MFA degrees in Sculpture at Hongik University, Moon Insoo has diligently pursued the elite course of the Korean art scene. Particularly noteworthy is his consecutive selection for special recognition at the Korea National Art Exhibition following his graduate studies. In 1993, he won the Kim Se-Choong Sculpture Award and was invited by the French Ministry of Culture to hold a solo exhibition in Paris, thereby gaining recognition as a talented artist with immense potential at a young age, both domestically and internationally. Moon Insoo’s recognition extended beyond the art world to the general public in Korea through his 1993 work, Barrier installed in the outdoor sculpture park of the Seoul Arts Center. This large-scale sculpture, constructed with rugged steel plates and hefty cement blocks, underwent oxidation and rust over the course of 30 years, sparking controversy among numerous viewers who held a belief that “Art is something beautiful.” Moon Insoo’s artistic practice, which significantly breaks away from the traditional grammar of sculpture by using cement and iron as primary materials and creating oversized works that surpass human scale, was unfamiliar to the general Korena public in the 1990s. The discourse surrounding Moon Insoon’s Barrier evokes parallels with Tilted Arc (1981) by Richard Serra, a renowned American sculptor, which also stirred social controversy. In 1981, Richard Serra installed a massive steel sculpture titled Tilted Arc , commissioned by the U.S. General Services Administration, in the center of a Foley Federal Plaza in Manhattan, New York, measuring 120 feet in length and 12 feet in height. This sculpture, upon installation, immediately sparked vehement protests as it divided the plaza in half and obstructed the gaze and movement of passersby. At the time, to the majority of citizens unfamiliar with the concept of public art, the artwork, crafted from rusty steel plates, appeared as nothing more than an obstructive eyesore on their commute routes. Approximately 1,300 citizens working in nearby buildings submitted petitions advocating for the removal of the artwork, leading to Serra filing a lawsuit against the federal government, which he ultimately lost, resulting in the dismantling of the artwork in 1989. While Serra's work was removed, this case remains a seminal example, expanding the traditional role and limitations of sculpture and elevating public art as a genre of societal interest. While Moon Insoo is often likened to Richard Serra due to similar incidents and material choices, in reality, he draws much inspiration from the works of European sculptors such as Anthony Caro and Eduardo Chillida. Particularly in this exhibition, series such as "Red Bull" and "Owl of Minerva" will be prominently displayed. Moon Insoo's sculptures, which vividly depict the dynamism and strength of bulls and owls by emphasizing the contrast between black and red, blur the boundaries between painting and sculpture with a unique technique. ABOUT THE ARTIST Moon Insoo, a Korean contemporary artist known as the ‘Sculptor of Steel and Concrete,’ stands out for his modern approach, unbounded by traditional styles. His upbringing amidst war’s aftermath shapes his work, reflecting themes of destruction and reconstruction. His sculptures are abstract and urban, often incorporating heavy steel plates and protruding rebar, reminiscent of his childhood surroundings. Typically assembled like large patchworks, they exude both strength and lyrical beauty. While they seem to collide with the forces of creation and destruction, they possess a simple yet profound beauty, preserving the artist’s effort and becoming more intimate over time as they weather and age. CATALOG View Catalog here INSTALLATION VIEWS

Back American Contemporary Artist Shane Guffogg Solo Exhibition “Memories of the Future” Internationally acclaimed American contemporary artist Shane Guffogg is currently presenting his solo exhibition Memories of the Future at Gallery Chang in Seoul. In this exhibition, Guffogg introduces a new body of work inspired by images captured by the James Webb Space Telescope. Reflecting on scenes of stars being born and disappearing in the cosmos, the artist explains that he came to the realization that “time is not linear—the past we perceive is, in fact, the present.” The exhibition invites viewers to awaken to the idea that “we are memory and future at once, coexisting within this luminous present moment.” As this philosophical reflection is fully embedded in the paintings, viewers encounter yesterday’s traces, today’s shadows, and tomorrow’s radiance simultaneously within a single visual field. Art critic Victoria Chapman commented on the exhibition, stating, “Guffogg’s canvases are not mere abstractions, but portals of time. If Cubism fragmented viewpoint, Guffogg fragments time itself. Standing before his works, we are invited into a present where dimensions intersect.” Guffogg gained global attention last year during the Venice Biennale period with an installation encompassing painting, poetry, and music at Palazzo Contarini del Bovolo. Born in California in 1962, Guffogg has spent more than four decades consistently developing a painterly practice centered on light, time, and perception. While employing traditional oil painting techniques, he builds up dozens of translucent glaze layers, creating surfaces where light appears to accumulate and traces seem to overlap across time. The exhibition runs through October 10 at Gallery Chang, Seoul. By Lee Joo-sang / SBS News news.sbs.co.kr 미국 현대미술가 셰인 구포그 개인전 '기억 속의 미래' 이번 전시에서 구포그는 제임스 웹 우주망원경에서 촬영된 이미지에 영감을 받아 제작된 신작 연작을 선보입니다. 구포그는 별이 태어나고 사라지는 우주의 장면을 보며 "시간은 선형이 아니라, 우리가 보는 과거가 곧 현재"라는 깨달음을 얻었다고 말합니다. < >

Back Gallery Chang Hosts Five-Artist Group Exhibition Gallery Chang, which continues active exhibition programming between Korea and New York, will open the group exhibition Beautiful Rupture on the 20th at its Manhattan location in New York City. This exhibition highlights five artists who explore “the boundary between beauty and rupture” through diverse media such as painting and sculpture. Participating artists are Korean artists Moon Insoo and Kimi Kim, along with American artists Brett Price, Kelly Berg, and Mark Acetellida. Gallery Chang commented, “Moon Insoo visualizes narratives of memory, erosion, and silence through compositions of layered surfaces that recall the texture of concrete. Kimi Kim deconstructs and reconstructs the forms of luxury brand handbags using ceramic materials, presenting works that question consumption, desire, and the illusion of beauty. Both artists reveal the experimental spirit and aesthetic identity of contemporary Korean art, adding depth to this exhibition.” The gallery also introduced the American artists: “Brett Price reinterprets the materiality of sculpture by flexibly bending and wrapping large steel structures. Kelly Berg presents paintings that powerfully express the geological energy of nature. Mark Acetellida continues his abstract painting practice, capturing the emotional currents and the depth of time flowing beneath the calm surface of the sea.” Curator Jinnie Kang, who organized the exhibition, stated, “This exhibition presents the aesthetic depth and experimental spirit of the artists supported by Gallery Chang, and is a project in which the harmonious artistic exchange between Korean and American artists stands out.” www.koreadaily.com 갤러리 장, 5인 작가 그룹전 개최 | 미주중앙일보 20일부터 7월 22일까지 뉴욕 맨해튼 지점 문인수·키미 킴·브렛 프라이스 등 참여 < >

United States Artist Biography Works Next Theo Woodward United States BIOGRAPHY Theo Woodward is a multifaceted artist, sound engineer, and digital creator whose work bridges the realms of music, video, and visual art. Known for his innovative approach to storytelling, Theo blends soundscapes, digital art, and animation to create immersive experiences that explore the interconnection between auditory and visual forms of expression. Born and based in the United States, Theo gained recognition as a sound engineer and video editor before establishing himself as a creator of music videos, album covers, and promotional content for musicians and brands. His artistic journey has been shaped by a deep passion for blending sound and image, often using cutting-edge technology to enhance his creative vision. Theo's music and art often explore themes of memory, perception, and the interplay between the natural and digital worlds. Albums like Immaterial Notions and Unseen I feature tracks such as "Recollection of the Boundless Inbetween" and "Blisswave Sonnet in 360 VR Resampling," which showcase his ability to craft sonic landscapes that complement his visual narratives. His work has been described as a seamless fusion of music and art, where one medium informs and elevates the other. A defining moment in Theo’s career was his performance with the indie rock band Florry at SXSW in 2019, where he combined live sound engineering with visual projections. This experience solidified his reputation as a creative force capable of captivating audiences across multiple mediums. In addition to his artistic pursuits, Theo is dedicated to leveraging technology for creative and strategic purposes. He is currently developing a political consulting firm that uses AI to analyze data and craft strategies, reflecting his interest in the intersection of technology, culture, and societal impact. Theo Woodward’s art has been featured in exhibitions, music festivals, and digital platforms, gaining a dedicated following among those who appreciate his boundary-pushing approach. Whether through music, video, or digital installations, Theo continues to explore new ways to connect with audiences, creating work that challenges perceptions and celebrates the limitless possibilities of art and technology. WORKS

< Back Eclipes of Bliss: The Dualities Within Oct 7, 2019 Eclipes of Bliss: The Dualities Within Ahn Chaeyeun Oct 7 - 19, 2019 Chaeyeun Ahn's latest exhibition, "Eclipses of Bliss: The Dualities Within," is a captivating exploration of the delicate balance between light and darkness, joy and fear. Drawing from her background in Visual Communication Design, Ahn delves into the realms of imagination and self-reflection, creating a body of work that resonates with profound emotional complexity. In her practice, Ahn frequently employs the image of the rabbit as a central motif—a symbol that bridges the gap between innocence and introspection. The rabbit serves as a medium through which her inner world is expressed, embodying a spectrum of emotions that are as diverse as they are nuanced. This recurring figure navigates a landscape where brightness intertwines with shadow, where moments of bliss are not devoid of underlying trepidation. The title, "Eclipses of Bliss," aptly captures the essence of Ahn’s work. It evokes the notion that even in moments of profound happiness, there exists an inherent complexity—a potential for overshadowing fears and uncertainties. Her art invites viewers to confront these dualities, to reflect on their own experiences of joy and apprehension, and to find solace in the acceptance of these intertwined aspects of existence. Ahn's visual narratives are both introspective and accessible, inviting audiences to engage with her exploration of self and the broader human experience. Through her vibrant yet contemplative compositions, she challenges us to embrace the full spectrum of our emotions, acknowledging that even in the midst of bliss, there can be shadows that add depth and meaning to our lives. In "Eclipses of Bliss: The Dualities Within," Chaeyeun Ahn offers a unique perspective on the human condition, using her artistry to illuminate the often-unspoken tensions that shape our emotional landscape. This exhibition is a testament to her ability to transform personal introspection into universal truths, inviting us all to find beauty and understanding in the interplay of light and shadow.

< Back Synesthetic Reverie Nov 8, 2024 Synesthetic Reverie Something Sweet Gallery Cafe X Gallery Chang Hongbin Kim (VANHADA) Hongbin Kim’s exhibition, "Synesthetic Reverie," presents a synesthetic world that transcends the boundaries of color and sensation. In this exhibition, the artist expresses single-color pigments in three-dimensional forms, capturing depth and vibrancy that extend beyond the flat plane. Each color represents the artist, others, or the diverse individuals navigating the layered complexity of New York City, revealing the multifaceted nature of a person through color. In his work, the paint is not merely flat but expresses the vibrant potential of color through dimensionality. This color transcends simple visual stimuli, arriving as a synesthetic reverie that invites viewers to reencounter the varied identities of individuals and the world. "Synesthetic Reverie" offers visitors an immersive experience, exploring self, others, and urban life through color and form. We invite you to Something Sweet Gallery Cafe to encounter a new realm of art that transcends the boundaries of perception and being.

May 7 - Jun 16, 2026 Intro Catalog Installation Views Next [C1] New York SWELL OF LIGHT May 7 - Jun 16, 2026 Jimi Gleason / Shane Guffogg / Andy Moses INTRO Light, in this exhibition, is not a fixed form but a condition in flux—constantly emerging, dissolving, and re-forming. Like the swell of the ocean, it gathers, lingers, and disperses, moving across time and space. Swell of Light brings together three California-based artists— Shane Guffogg, Andy Moses, and Jimi Gleason—to explore how light shifts through nature, time, and perception. While each artist has developed their practice along a distinct trajectory, they are loosely connected through a shared sensibility shaped by California’s environment and the artistic lineage of the Light and Space Movement. Across the exhibition, their works begin from subtle transformations found in the ocean, the sky, and the passage of time. Yet these are not representations of landscape, but investigations into how perception itself takes form. What matters here is not what is seen, but how it changes, how it lingers, and how it disappears. Each artist approaches this inquiry through a different perceptual axis: duration, motion, and reflection. Shane Guffogg’s paintings center on the persistence of light—on time as something that accumulates and remains. Color, in his work, functions not merely as a visual element but as a trace of layered duration. Built through successive strata, his surfaces hold the residue of light, suspended between presence and disappearance. Rather than capturing a fleeting moment, his work invites contemplation of how a moment extends, deepens, and endures. His paintings evoke a non-linear sense of time in which past and present coexist, allowing memory to surface and recede within the same visual field—an approach that resonates with the temporal sensibility found in the poetry of T. S. Eliot, where time is not sequential but continuously reconfigured. Andy Moses approaches light through material and movement. Deeply informed by the dynamics of the ocean, his process involves the controlled flow and rotation of paint across the surface. As pigment moves, so too does light, shifting with the viewer’s position and dissolving any fixed image. His works embody a sense of fluid energy, translating natural motion into a visual experience in constant transformation. Jimi Gleason explores reflection and surface as a means of spatial perception. Working with metallic materials, his paintings do not simply contain light, but actively engage their surroundings, incorporating the viewer’s movement into the work itself. His visual language—marked by banded structures across the surface—draws in part from photographic framing, particularly the immediacy of Polaroid imagery. Influenced by experiences ranging from surfing to aviation, his work expands the viewer’s awareness of horizon, atmosphere, and spatial depth. Though working across different dimensions—time, material, and space—the three artists converge in their attention to a shared condition: the moment before form fully settles. It is a state in which experience gathers, perception sharpens, and meaning begins to emerge. This exhibition does not seek to capture that moment, but to remain within it—to trace the process through which it comes into being and dissolves again. It is within this shifting field that distinct rhythms and temporalities intersect. These currents ultimately converge within a single place. Each artist, at different moments, has passed through New York, carrying away impressions that remain embedded within their work. These experiences do not appear directly, but linger subtly within the surfaces and structures of the paintings. Swell of Light marks the return of these accumulated sensibilities to the city. At the intersection of California’s atmospheric conditions and New York’s lived experience, light, time, and memory are reconfigured—and felt anew. CATALOG View Catalog here INSTALLATION VIEWS

South Korea, 1950 Artist Biography Works Next Kim Kang Yong South Korea, 1950 BIOGRAPHY Kim Kang Yong is one of South Korea’s most celebrated and influential contemporary artists, known for his groundbreaking exploration of Hyperrealism and its philosophical implications. Born in Jeong-Eup, Korea, in 1950, Kim earned his Bachelor and Master of Fine Arts degrees from Hongik University, a renowned institution in Seoul. Over his illustrious five-decade career, Kim has garnered both national and international recognition for his innovative approach to blending realism and conceptual thought. Kim’s signature motif, bricks, has become a defining symbol of his work and a hallmark of contemporary Korean art. His hyper-realistic paintings go far beyond simple representation, transforming ordinary bricks into profound metaphors for the complexities of modern life. Inspired by the concept of simulacre (simulacra), as explored by philosopher Jean Baudrillard, Kim’s bricks transcend their original forms to become autonomous realities. These works challenge viewers to reflect on fundamental questions: What is real? How do images construct our understanding of truth and history? This intellectual depth sets Kim apart as a visionary in the art world. Kim’s technical mastery further elevates his work. Beginning in the 1980s, he introduced innovative materials such as sand, loess, and kaolin to create textured surfaces that evoke both the tangible and the conceptual. His combination of meticulous detail, tactile experimentation, and traditional Korean artistic techniques has redefined Hyperrealism through a uniquely Korean lens, earning him acclaim as a leader in the global art community. His impact is highlighted by prestigious retrospectives and exhibitions, including KIM Kang Yong: Hyper Realistic Bricks at Sungkok Art Museum in 2023. This milestone exhibition, celebrating his 50-year career, showcased the evolution of his art in three distinct phases: his early explorations of alienation and place in the 1970s, his innovative use of materials in the 1980s and 1990s, and his contemporary works, which include monochrome and multi-colored bricks. Kim’s ability to continually innovate while remaining true to his philosophical inquiries underscores his enduring influence. Kim’s art has been featured in major galleries, museums, and collections worldwide, solidifying his reputation as one of Korea’s most significant contributions to the international art scene. His works have become symbols of Korea’s unique reinterpretation of global art movements, bridging cultural and philosophical divides. Currently living and working in Korea, Kim Kang Yong continues to create thought-provoking works that challenge perceptions and inspire reflection. His paintings, at once visually striking and intellectually profound, reaffirm his status as a pioneer in contemporary art and a key figure in shaping the trajectory of Korean art on the global stage. EDUCATION 1981 MFA, Department of Painting, College of Fine Art, Hong Ik University, Seoul, Republic of Korea 1978 BFA, Department of Painting, College of Fine Art, Hong Ik University, Seoul, Republic of Korea SELECTED SOLO EXHIBITIONS 2025 Gallery Chang, New York 2024 Gallery Chang, New York 2023 The Columns Gallery, Singapore 2020 Sungkok Art Museum, Seoul, Korea 2019 Gallery LVS, Seoul, Korea 2017 Seoul Arts Center, Seoul, Korea 2013 Gallery Peithner-Lichtenfels, Vienna, Austria 2012 Gallery Michael Schultz, Berlin, Germany 2010 Gallery Parkyoung, Seoul, Korea 2009 National Art Museum of China, Beijing, China 2008 Gana Art Center, Seoul, Korea 2007 Gallery Kaze, Osaka, Japan 2006 Neuhoff Gallery, New York, U.S.A. 2003 Johyun Gallery, Busan, Korea 2000 Park Ryu Sook Gallery, Seoul, Korea 1999 Gasan Gallery, Seoul, Korea 1992 Yeemock Gallery, Seoul, Korea 1988 Fine Arts Center, Seoul, Korea 1986 Yoon Gallery, Seoul, Korea 1983 Growrich Gallery, Seoul, Korea MAIN COLLECTIONS Seoul Museum of Art, Seoul, Korea National Museum of Modern and Contemporary Art, Gwacheon, Korea Hong-Ik University Museum, Seoul, Korea Sungkok Museum, Seoul, Korea Park Soo Keun Museum, Yangggu, Korea Korean Ministry of Foreign Affair and Trade, Seoul, Korea Parkyoungsa, Seoul, Korea Incheon District Supreme Prosecutors Office, Incheon, Korea Frederick R. Weisman Art Foundation, L.A, U.S.A etc. WORKS Load More

Jun 19 - Jul 14, 2026 Intro Catalog Installation Views Next [C1] New York Structure and Texture Jun 19 - Jul 14, 2026 Steven Seinberg / Mark Acetelli / Bret Price / Moon Insoo / Anon INTRO We do not simply look at surfaces. We respond to them. Some surfaces slow the breath, drawing the body into a state of quiet attention. Others sharpen perception, producing a subtle tension that resists stillness. These differences do not arise from material alone, but from the density and interval shaped by structure and texture. This exhibition traces those shifts—how works regulate the viewer’s movement, duration, and sensory awareness. Between holding and release, between calm and unease, each work proposes a distinct mode of encounter. Bret Price bends steel into suspended moments of force. His structures hold tension in their very form, where gravity is not resolved but continuously negotiated. The space around them tightens; the body registers their weight before the eye fully understands. Moon Insoo constructs surfaces through repetition and accumulation. Working with industrial materials such as steel and cement, he allows time, pressure, and process to settle into the work. Structure becomes surface; surface becomes the record of force. Steven Seinberg develops luminous fields where color and light unfold gradually. His paintings do not assert themselves; they invite prolonged looking. Tension here is diffused, suspended within the atmosphere, felt over time rather than at once. Mark Acetelli works through layering and erasure, reducing the image to a state of quiet intensity. His surfaces hover between presence and absence, where what is withheld becomes as active as what remains. ANON builds images from dyed and layered fabric. Cut, joined, and reassembled, the material resists illusion. Color is absorbed rather than applied, and the surface emerges as a constructed skin—at once image and object, soft yet insistent in its presence. Across these practices, structure and texture are not fixed categories but shifting conditions. Structure stabilizes, yet it also compresses. Texture activates, yet it can also dissolve. What emerges is a spectrum of tension—subtle, physical, perceptual—that alters how we stand, how we look, and how long we remain. CATALOG View Catalog here INSTALLATION VIEWS