AUG 14 - SEP 27, 2025 Intro Catalog Installation Views Next [C1] New York BECOMING WITHOUT END AUG 14 - SEP 27, 2025 Ed Moses INTRO Within the canon of postwar American abstraction, Ed Moses holds a singular and paradoxical position: both foundational and defiantly fluid. As a key figure of the Los Angeles–based “Cool School” in the late 1950s, Moses exhibited alongside Ed Ruscha, Robert Irwin, and others at the seminal Ferus Gallery—yet consistently resisted the constraints of any one movement. He was never static, never still: not on the periphery, but always in flux. Becoming Without End reframes Moses not only as a central figure in West Coast art, but as a major force in the larger arc of contemporary abstraction. Over six decades, Moses dissolved the boundaries between gesture and geometry, structure and improvisation, through a relentlessly process-driven practice. His paintings emerged less as composed images than as lived acts—visual records of risk, immediacy, and transformation. Moses’s trajectory traces a profound lineage across postwar art: rooted in the performative mark-making of Abstract Expressionism, moving through the ascetic clarity of Postminimalism, and extending into the experimental materiality of contemporary process-based work. Each body of work marked not a destination but a turning point—a leap into new formal vocabularies without disavowing the past. He moved forward by rupture, yet carried continuity like breath. In an era increasingly defined by consistency, authorship, and visual branding, Moses’s career offers a radical counter-model: a life’s work animated by impermanence, doubt, and becoming. He rejected the notion of signature style in favor of constant reinvention—of painting as an act of surrender, not mastery. This exhibition is not a retrospective in the conventional sense. Becoming Without End is an invocation: a call to encounter Moses’s work as an evolving field of energy, where each surface is a threshold. It invites us to engage with the deeper ethos of artistic creation—not as a quest for finality, but as a perpetual opening. CATALOG View Catalog here INSTALLATION VIEWS

South Korea Artist Biography Works Next Lee Calvin South Korea BIOGRAPHY GROUP EXHIBITION 2019 Pop Up Picture Library, New York, NY Light, SVA Chelsea Gallery, New York, NY Jacob and Esau, SVA Chelsea Gallery, New York, NY 2017 This is Permanent, Installation Group Exhibition, NY AWARD 2016 Unshaken by the Wind (Capitalism), MIFA Honorable Mention Penumbra, MIFA Honorable Mention WORKS Load More

South Korea Artist Biography Works Next Choi WoolGa South Korea BIOGRAPHY Choi Woolga is a painter trained in Western painting. He completed his studies at the École nationale supérieure des Arts Décoratifs in Paris and graduated from the École des Beaux-Arts de Versailles. Born in Ulsan in 1956 and raised in Busan, Choi grew up as the youngest of four children in a family with a background in the Enlightenment movement, under a father who worked as an interpreter. Rather than focusing on academic studies, he spent his youth immersed in literature and music, often staying up through the night, and was considered a rebellious figure within his household. In his late twenties during the 1980s, he moved to Paris, where he first encountered and fully embraced the world of art, beginning his path as a painter. After spending fifteen years working in Paris, he relocated to New York in 2000, in his mid-forties. It was there that he developed his now-recognized “Black and White” series, which brought him critical attention. His paintings are characterized by the spontaneous appearance of symbols and text, along with a restrained use of monochromatic fields and linear expression that resist layering or overlap. These elements reflect a deeply internalized sensibility rooted in his early engagement with literature, translating narrative impulses into visual form. Since his first solo exhibition, Choi has published eight monographs and has participated in numerous solo and group exhibitions across Korea, New York, Paris, and Japan. WORKS Load More

SEP 30 - OCT 22, 2025 Intro Catalog Installation Views Next [C1] New York REALITY + IMAGE SEP 30 - OCT 22, 2025 Kim Kang Yong INTRO This exhibition highlights the masterworks of Kim Kang-Yong from the early to mid-2010s, a period widely regarded as the pinnacle of his artistic maturity. During these years, the artist lived in New York, immersing himself in a new environment that reshaped his practice. The unfamiliar light, sounds, and rhythms of the city, as well as the dynamic context of the international art world, became catalysts that pushed his work to new depths of intensity and reflection. Sand and brick, his signature materials, gained new resonance through his New York experience. From a distance, the canvases appear photographic, yet up close, the densely layered grains of sand reveal themselves as tangible surfaces. This interplay between image and matter intensifies the tension between reality and illusion, compelling the viewer to ask: “What does it mean to see?” During this period, Kim also engaged in dialogue with critics, collaborated with New York galleries, and participated in international exhibitions. These encounters gave his work a universal dimension while simultaneously deepening its philosophical roots in Korean materiality and tradition. This exhibition is not merely a retrospective of a past era. It is a re-encounter with the moments when Kim Kang-Yong reached the height of his artistic achievement through dialogue with the city of New York. At the same time, it stands as a testimony to how Korean contemporary art has established a distinctive voice within the global stage. For collectors, the exhibition offers rare significance. The works from Kim’s New York years are among the most complete and exceptional in his career, carrying both art historical weight and collectible value. More than aesthetic objects, these works become living presences—continuing conversations that unfold new meanings with time and resonate daily in the collector’s space. 「 REALITY + IMAGE: Revisiting the Works of the 2010s. 」 This exhibition is a meditation on how art reveals reality, and how the act of seeing itself becomes an endless dialogue. CATALOG View Catalog here INSTALLATION VIEWS

Jan 6 - 31, 2026 Intro Catalog Installation Views Next [C4] Seoul BEYOND DANSEAKHWA – The Depth of Abstraction Jan 6 - 31, 2026 Cho Yong Ik INTRO Cho Yong Ik, a prominent figure in the realm of Korean monochrome art, is renowned for his exploration of the aesthetics of ‘revealing the void.’ His artistic method involves repetitive actions that embody a spirit of negation, resulting in works characterized by a delicate balance of traces and empty space created through the process of applying and erasing pigments, reflecting the process of discovering one’s own realm in accordance with the principles of a single stroke. Alongside other key figures in Korean monochrome art such as Park Seo Bo, Chung Sanghwa, Ha Chong Hyun, Yun Hyong Keun, and Jung Chang Sub, Cho Yong Ik has played a pivotal role in shaping the discourse surrounding Korean abstract painting. This exhibition not only unveils the hidden masters of monochrome art but also provides a comprehensive overview of the evolution of Korean abstract painting, positioning Cho Yong Ik’s works within the broader context of the genre’s development in Korea. CATALOG View Catalog here INSTALLATION VIEWS

OCT 14 - NOV 15, 2025 Intro Catalog Installation Views Next [C4] Seoul Infinite Dialogue OCT 14 - NOV 15, 2025 Kim Kang Yong / Shane Guffogg INTRO Gallery Chang presents Infinite Dialogue , a two-person exhibition featuring the celebrated Korean artist Kim Sang Yong and the internationally acclaimed American painter Shane Guffogg, opening this October at Gallery Chang Seoul. This exhibition unfolds as a philosophical conversation between East and West, where two masters of contemporary art engage in a dialogue of forms, materials, and perception. For over five decades, Kim King Yong has explored the essence of existence and perception through the humble yet profound motif of the brick. His meticulously layered surfaces—composed of sand, pigment, and shadow—transform ordinary materials into meditative fields that question the very act of seeing. Shane Guffogg, meanwhile, constructs a universe that transcends the boundaries of light, time, science, and art. Guided by the fundamental question, “How can time and space be compressed into a single moment?”, his works invite viewers to experience the simultaneous unfolding of memory and presence. Guffogg gained international attention during the 60th Venice Biennale, where his solo exhibition At the Still Point of the Turning World – Strangers of Time at the Scala Contarini del Bovolo Museum resonated with the Biennale’s central theme, Stranieri Ovunque – Foreigners Everywhere . By weaving the notion of “foreign time” into his paintings and installations, he created a powerful reflection on human perception and belonging that was widely covered by international media, including the BBC. In Seoul, Infinite Dialogue brings together Guffogg’s global inquiry and Kim’s lifelong investigation into vision and materiality, posing a shared question to viewers: What does it truly mean to see? The dialogue between these two masters will continue beyond Seoul, leading to a forthcoming exhibition in New York in 2026, expanding the cross-cultural discourse between Korea and the United States that Gallery Chang has long championed. CATALOG View Catalog here INSTALLATION VIEWS

Back January 29, 2026 Janis Art Table 2 Previous Next

JUL 4 - 30, 2025 Intro Catalog Installation Views Next [C4] Seoul To Glow in the Afterglow JUL 4 - 30, 2025 Mark Acetelli Mark Acetelli INTRO To Glow in the Afterglow: 빛의 잔상 어떤 감정은 바로 다가오지 않는다. 대신, 잔광처럼 스쳐 지나가고 어느 날 조용히 되살아난다. Mark Acetelli의 회화는 그 찰나의 기억을 잡아두려는 시도이자, 잔광 사이에서 빛나는 마크의 기억들을 하나하나 꺼내어 화면 위에 쌓아올리는 과정이다. “작업은 늘 변화하고 흐른다. 물처럼 흘러가고, 그 흐름 안에서 진심을 계속 꺼내야 한다.” 그는 말한다. 오랫동안 방치된 플라스틱 컵 속 물감을 다시 꺼내보기도 하고, 색은 네 가지, 다섯 가지를 섞어 그날의 감정을 간신히 만든다고. 요리처럼, 본능처럼. 그렇게 탄생한 화면은 정리되지 않는다. 오히려 결과에 대한 집착을 놓아버리고, 과정을 받아들이는 법을 보여준다. 이번 전시 《빛의 잔상》은 This Too Shall Pass, Be Like Water, Hope, Currant and Flow 등 작가의 대표작들을 통해 사라진 감정의 끝자락이 마지막으로 반짝이는 순간을 기록한다. 빛이 다 스러진 후에도 남는 온기. 그 사이에서 마크의 감정은 여전히, 우리 안으로 조용히 스며든다. CATALOG View Catalog here INSTALLATION VIEWS

Back June 4, 2026 Jimi Gleason and the Looking Glass Jimi Gleason and the Looking Glass Water has always had a special relationship with light. It bends it, holds it, and gives it back wholly transformed. In doing so, water reveals the observer as much as the observed. Growing up between Newport Beach and Hawaii, Jimi Gleason absorbed this knowledge early. The Pacific was his first canvas: endlessly mutable, luminous, alive with movement. Asked recently about confronting career doubt as a younger artist, Gleason said he'd go back home and "just start surfing again, and be in nature." Jimi Gleason in front of his work Decades later, standing before one of his paintings, you feel a sort of tidal pull, sensing that the surface is watching you back and calling you forth, much in the way that ocean waves often do. Gleason's practice is inseparable from the Southern California arts traditions that shaped it. Coming of age alongside a generation of artists reckoning with the limits of the Conceptual Art Movement, he was drawn to making work and learning from mentors who did not demand conclusions from the viewer. His mentor Ed Moses (one of the defining figures of American Postwar art and West Coast abstraction) famously said: "People always ask me, 'Well, what do you paint?' I say, 'I paint canvas.' They think that that's a kind of joke, but it isn't a joke. It's very direct. I'd like to make it very clear that I'm not creative and I'm not trying to express myself. I'm an explorer, I'm trying to discover things, discover the phenomenal world by examining it, by looking at it, by playing with materiality." Jimi Gleason at his studio Like his mentor, Gleason plays with materiality, but his practice is wholly distinct from his pedagogical predecessor. Distinct not only in process but in impact. Unlike Moses' abstract paintings, Gleason's work cannot be fully seen without being entered, and not merely conceptually. The viewer can literally see themselves reflected within the mirror-like surface of his canvases. In some works, the sheen produces a distorted, shadow-like image; in others, fragments of the self emerge with startling clarity: an eye, an ear. William Turner Gallery's exhibition text for his show Prima Materia drew on the mythology of Narcissus to describe this encounter. The Greek myth has been interpreted in the Western canon not only as a cautionary tale of self-obsession but as a story about discovering love through nature, and specifically through water. Standing before a Gleason, the allegory holds. You are not simply looking at a painting. You are looking at yourself, refracted in the looking glass. It is through this encounter that Gleason's practice most fully distinguishes itself from the tradition that formed him. Where Moses sought to dissolve the self in abstraction, Gleason returns us: the self appears transfigured, implicated, and undeniable. In an era where self-obsession is the norm thanks to the constancy of social media, Gleason’s work gains a new relevance. Laguna Beach, 2023. Silver nitrate acrylic on canvas. 30” x 24” The Light and Space movement of the 1970s held that perception itself was the subject: that art's highest purpose was not representation, but activation. A decade later, Gleason took that proposition and began to make it material. The process itself is closer to chemistry than craft: silver nitrate applied to acrylic-coated canvases, a technique drawn from the world of industrial manufacture. It transforms each painting into a surface of near-alchemical complexity. The silver deposit is not "paint" in a conventional sense. It behaves more like water: shifting with the angle of light, the time of day, and the position of the body standing before it. "By using an iridescent surface coat," Gleason has said, "I have managed to create visual spaces that respond to both the play of light and the location of the viewer." The result is a work that is never twice the same: a mirror that neither flatters nor deceives, but simply reflects the eye of the beholder and their immediate environs. This reflective quality is not incidental to Gleason's vision; it is the vision. His paintings do not contain light so much as conduct it, drawing the external world (its color, its movement, its unpredictable shifts) into the surface and returning it altered. The viewer becomes implicated, their presence registered and transformed as surely as the light itself. In this sense, Gleason's work is less object than event: something that happens rather than something that is. Mirror Trac, 2018. Silver nitrate acrylic on canvas. 42x40” The technical mastery underpinning this vision was hard-won. After completing his BFA at UC Berkeley in 1985 and studying printmaking at the San Francisco Art Institute, Gleason spent formative years in New York City working as a photo assistant and photo technician. Living in Alphabet City during an era still reverberating with the energy of Basquiat and Warhol, he maintained focus, developing a fluency with light and chemical processes that would later prove essential. Returning to California, he worked for five years in the studio of Ed Moses, deepening his understanding of materiality and the possibilities of the painted surface. The disciplines of printmaking, photography, and abstract painting converged into a practice that is entirely Gleason's own. The critical reception has been commensurate with the ambition. Writing in the Los Angeles Times, art critic David Pagel captured something essential about the experience of standing before Gleason's work: "In Gleason's deliciously unnatural abstractions, the devil is not in the details only because diabolical beauty spills so profusely from every nook and cranny. His densely textured surfaces are a cornucopia of unimaginable delights." Gleason's paintings are held in significant public and private collections worldwide, and have been exhibited at institutions including the Hammer Museum, the Frederick R. Weisman Art Foundation, the Laguna Art Museum, the Long Beach Museum of Art, the Seattle Art Museum, and the Tucson Museum of Art. Gleason lives, works, and surfs in Southern California, where light continues to refuse containment. Light breaking off water, hitting chrome, dissolving edges, insisting on itself without apology. In that environment, one can assume painting feels less like depiction than participation. Jimi Gleason: Selected Works - Gallery Chang, New York Article by Gallery Chang Program Coordinator Celestina Billington Previous Next

South Korea, 1934-2023 Artist Biography Works Next Cho Yong Ik South Korea, 1934-2023 BIOGRAPHY Cho Yong-Ik was a prominent South Korean artist and a pioneering figure in the Dansaekhwa (monochrome painting) movement. Born on February 20, 1934, in Bukcheong, Korea, he pursued his education at Seoul National University in the mid-1960s, studying under the esteemed art historian, critic, and painter Kim Byung-ki. This mentorship instilled in him the importance of maintaining artistic independence, a principle that became central to his practice. Throughout his seven-decade-long career, Cho developed a distinctive approach within the Dansaekhwa movement. While his contemporaries often focused on monochromatic palettes, Cho's work stood out for its incorporation of color and dynamic compositions. His paintings are characterized by energetic abstractions featuring lyrical scratches, whisks, and flicks, emphasizing process, materiality, and systematic organization. This unique style allowed him to push the boundaries of Korean abstract art. Cho's contributions to art were recognized both nationally and internationally. He participated in significant exhibitions such as the Paris Biennale in 1961 and 1969, and the São Paulo Bienal in 1967. His works have been showcased in esteemed institutions, including the National Museum of Modern and Contemporary Art in Seoul and Gwacheon, the Leeum Museum of Art, and the Fukuoka Museum of Art in Japan. In 2016, he held a major solo exhibition at the Sungkok Art Museum in Seoul, further cementing his legacy in the art world. Beyond his artistic practice, Cho was dedicated to education and the advancement of the Korean art community. He served as a professor at Chugye University for the Arts from 1974 to 1992 and held the position of vice executive director of the Korean Fine Arts Association between 1977 and 1983. Cho Yong-Ik passed away on July 2, 2023, at the age of 89. His legacy endures through his innovative contributions to Korean abstract art and his influence on subsequent generations of artists. EDUCATION 1958 Graduated Department of Painting, Seoul National University INCUMBENT 1960 Jury member of Chosun Ilbo Contemporary Artists Exhibition 1958-1961 The chief of the Contemporary Artists Association 1962 The chief of the Actuel Committee 1965-1968 Jury member of Young Art Prize 1965-1981 Invited Professor at Serabeol Art College (Present Chungang University) 1967 The Chief of I.S.P.A.A. (International Society of Plastic and Audio-Visual Art 1967-1969 5-6th Paris Biennale Korea Representative 1973-1979 Representative of Seoul '70 1974-1992 Professor at Chyugye University for the Arts 1974-1981 23-30th National Art Exhibition of Korea, The Recommended & Invited Artist 1977-1983 Korean Fine Arts Association - Vice Executive Director 1991 1st Gwangju Biennale - The Organizing Committee 1991 Jury member of National Art Art Exhibition of Korea MAJOR SOLO EXHIBITIONS 2025 Gallery Chang, Seoul, Korea 2024 Gallery Chang, New York 2023 "Cho Yong-Ik: Late Works", Kiang Malingue, Hong Kong / Brown Gallery, Seoul, Korea 2022 HK Art and Antiques, New York, NY, USA 2021 Paik Hae Young Gallery, Seoul, Korea 2017 Olivier Malingue Gallery, London, UK 2016 Edouard Malingue Gallery, Hong Kong 2016 Sungkok Art Museum, Seoul, Korea 2016 Jaedong Gallery, Seoul, Korea 2008 Geohong Gallery, Guri, Korea 2008 Han Gallery, Seoul, Korea 2001 Jongno Gallery, Seoul, Korea 1990 Arko Art Center, Seoul, Korea 1984 Shinsegae Gallery, Seoul, Korea 1974 Shinsegae Gallery, Seoul, Korea SELECTED GROUP EXHIBITIONS 2023 "Figures and Flowers", HK Art Gallery, New York, USA 2023 "Two Friends", HK Art Gallery, New York, USA 2023 "Remembrance", Brown Gallery, Seoul, Korea 2023 "Absence leads to Presence", Brown Gallery, Seoul, Korea 2023 *Geometric Abstract Art in Korea", MMCA, Gwacheon, Korea 2022 Gana Art Busan, Busan, Korea 2020-21 "Challenge to the Unknown", Kim Tschang-Yeul Art Museum, Jeju, Korea 2019 Taipei Dangdai, Taipei, Taiwan 2018 Art Basel Hong Kong, Edouard Malingue Gallery, Hong Kong 2017 Art Basel Hong Kong, Edouard Malingue Gallery, Hong Kong 2017 Korean Art Now, Lee Hwalk Gallery, Seoul, Korea 2016 "Art & Life", Art Space Ben, Seoul, Korea 2016 Art Basel Hong Kong, Edouard Malingue Gallery, Hong Kong 2015 "Re: Contemporary- Fermented Souls", Kate Shin Gallery, New York, USA 2004 Inaugural Exhibition, Leeum Museum of Art, Seoul, Korea 2004 "Abstraction from suffering", Arko Art Center/MIA, Seoul, Korea 2002 "Age of Philosophy and Aesthetics", MMCA, Gwacheon, Korea 2000 "An Aspect of Korean Contemporary Art", MMCA, Gwacheon, Korea 2000 "Postwar Abstract Art in Korea and the West: Passion and Expression", Samsung Museum of Modern Art, Seoul, Korea 2000 "Selected Works Division of Contemporary Art', Seoul National University Museum, Korea 1996 "Letters and Images", Hallim Museum, Daejeon, Korea 1995 "The Exhibition of Contemporary Art '50", MMCA, Seoul, Korea 1994 "Seoul International Contemporary Art Festival", MMCA, Gwacheon, Korea 1994 "Abstraction Art of Korea", Seonam Art Center, Seoul, Korea 1993 "Opening Exhibition on Contemporary Arts", Seoul Art Center Hangaram Museum, Seoul, Korea 1990 "Contemporary Korean Fine Art Invitational Exhibition", MMCA, Gwacheon, Korea 1990 "Seoul Art Exhibition", Seoul Museum of Art(SEMA), Seoul, Korea 1990 "Korea Fine Art - Present Stage", Seoul Art Center Hangaram Museum, Seoul, Korea 1990 "Korea Contemporary Art - Finding the Origin", Total Museum, Jangheung, Korea 1989 "Figurative Exhibition by Abstract Painters", Ace Art, Seoul, Korea 1988 "Contemporary Artists Exhibition", Chosun Ilbo Gallery, Seoul, Korea 1988 "Seoul Art Exhibition", Seoul Museum of Art(SEMA), Seoul, Korea 1987 "Contemporary Korean Fine Art Invitational Exhibition", MMCA, Gwacheon, Korea 1986 "Korean Contemporary Art's Today and Yesterday", MMCA, Gwacheon, Korea 1986 "Modern Korean Art Festival", Seoul Asian Games Organizing Committee, Seoul, Korea 1986 "86 Seoul Asia Contemporary Art Exhibition", MMCA, Gwacheon, Korea 1985 "Seoul Art Exhibition", Seoul Museum of Art(SEMA), Seoul, Korea 1985 "Korea Contemporary Art Exhibition", Olympic Park Museum, Seoul, Korea 1984-85 "Contemporary Korea Fine Art Invitational Exhibition", MMCA, Seoul, Korea 1984 "Korea Invited Contemporary Art Exhibition", MMCA, Seoul, Korea 1984 Korean Contemporary Art of the '60s The Outskirts of Informel", Walker Hill Art Center, Seoul, Korea 1984 "Korean Contemporary Art of the 60's Paris Biennale", Duson Gallery, Seoul, Korea 1983 *Korea Contemporary Fine Art Exhibition", Viscontea Hall, Milano, Italy 1981 "Jungang Fine Art Prize", MMCA, Seoul, Korea 1981 "Korea Contemporary Art Exhibition", Arko Art Center, Seoul, Korea 1981 "Fundraising Exhibition for construction of National Arts Museum", Seoul, Korea 1980 "Asia Contemporary Art Exhibition", Fukuoka Museum of Art, Fukuoka, Japan 1980 "Asia Contemporary Art Exhibition", Tokyo Museum, Tokyo, Japan 1980 "Korean Contemporary Art Exhibition", Myung Sung CC, Yongin, Korea 1980 "Korean Arts Exhibition by the Han-Kuk Ilbo", MMCA, Seoul, Korea 1980 "Korean and Arabic Art Exchange Fair", Arabic Culture Center, Seoul, Korea 1980 "Korea Print & Drawing Exhibition", MMCA, Seoul, Korea 1979-81 "An Invited Artist by the National Art Exhibition", MMCA, Seoul, Korea 1979 "Korean Fine Arts Today's Method Exhibition", Arko Art Center, Seoul, Korea 1978 "Korea: The Trend for the past 20 Years of Contemporary Arts", MMCA, Seoul, Korea 1978 "Jungang Fine Art Prize", MMCA, Seoul, Korea 1977 5th Independents Exhibition", MMCA, Seoul, Korea 1977 "Korea Contemporary Western Painting National Exhibition", MMCA, Seoul, Korea 1977 "Korean Contemporary Painting", National Museum of History, Taipei, Taiwan 1976~1980 Seoul Contemporary Fine Art Festival. MMCA. Seoul 1976-77 "Contemporary Fine Art Festival in Gangwon", Gangwon, Korea 1976-77 "Contemporary Fine Art Festival in Gangwon", Gwangju, Korea 1974-78 "A Recommended Artist by the National Art Exhibition", Seoul, Korea 1974-79 "The Exhibition of Seoul 70", Shinsegae Art Gallery, Seoul, Korea 1974 "The 3rd Triennale-India", New Deli, India 1973 "Exhibition of Korean Contemporary Art", Myung-Dong Gallery, Seoul, Korea 1973 "Opening Exhibition on 100 Contemporary Artists", The National Museum of "Modern & Contemporary Art [MMCA]", Seoul, Korea 1971 "Painting Today's Korea", Myung-Dong Gallery, Seoul, Korea 1970 "Korea Arts Exhibition (Sponsored by the Hankook Ilbo) ", Gyeongbokgung Art Museum, Seoul, Korea 1969 "Young Artists of Korea", Solidaridad Gallery, Manila, Philippines 1969 "The 6th Biennale de Paris", Paris, France 1968 "The 1st Festival International De La Peinture Cagnes Sur Mer" France 1967 "Sao-Paulo International Biennial", Sao-Paulo, Brazil 1967 "I. S. P. A. A International Exhibition", Shinsegae Gallery Seoul 1967 "Expo-67 Contemporary Korean Painters Exhibition", Montreal, Canada 1966 "Contemporary Korean Painters Exhibition", Kuala Lumpur, Malaysia 1966 "The Invitation Exhibition of Contemporary Artists from Six Countries of far East", Macy's, New York, USA 1964 "Cultural Freedom Contemporary Art Exhibition (Held by the Congress for Cultural Freedom) " Seoul, Korea 1962-65 "The Actuel Exhibition", Shinsegae Art Hall Seoul, Seoul, Korea 1962 "Contemporary Korean Arts Exhibition", Manilla, Philippines 1961 "The 2nd Biennale de Paris", Paris, France 1961 "Young Artists Coalition", Gyeongbokgung Art Museum, Seoul, Korea 1959-61 "Exhibition of Korean Contemporary Artists (Held by Chosun Ilbo)", Seoul, Korea 1958-61 "Contemporary Exhibition (Held by Artists Association)", Seoul, Korea 1958 "Exhibition by Three Artists of Le Pont, Jungang Information Hall', Seoul, Korea COLLECTIONS M+ Museum, Hong Kong National Museum of Modern and Contemporary Art, South Korea Seoul Art Museum, Seoul, South Korea Leeum Samsung Museum of Art, Seoul, South Korea Gwangju Museum of Art, Gwangju, South Korea Walker Hill Art Museum, Seoul, Korea Busan Museum of Art, Busan, Korea Sungkok Art Museum, Seoul, Korea WORKS Load More