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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 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

PRESS SBS NEWS | JAN 13, 2026 Cho Yong ik: A Journey of Self-Negation and the Evolution of Korean Abstraction We are pleased to introduce the profound artistic legacy of Cho Yong Ik, a titan of Korean modern art whose work serves as a vital bridge across the history of Korean abstraction. A recent retrospective highlights his evolution from early figurative experimentation to the serene heights of Dansaekhwa (monochrome painting). From Figurative Roots to the Informel Movement Cho Yong-ik’s journey began in the late 1950s. His early works, such as the 1957 piece depicting a boy with an accordion, display a sophisticated understanding of cubist structures reminiscent of Picasso. During this period, his "Expressionist" techniques—characterized by raw, vigorous brushwork—earned him early acclaim in the National Art Exhibition. Soon after, he became a central figure in the Korean Informel movement, utilizing thick, textured knife marks to explore the primal origins of life and materiality. The Rhythms of Deletion: Pointillism and Wave Patterns In the 1970s, Cho’s style underwent a dramatic transformation. He began a meticulous process of "erasing" through dots—a technique akin to musical staccato. This rhythmic repetition evolved into the iconic wave patterns that defined his contribution to the Dansaekhwa era. For Cho, these repetitive gestures were not merely aesthetic; they were a way to deepen his philosophical contemplation through symbols and the physical act of painting. The Philosophy of "Self-Negation" and the "Mushim" Series In his later years, Cho achieved a state of artistic transcendence known as Mushim (mindlessness). In this phase, he painted bamboo leaves with effortless, unadorned touches, reaching a meditative state of "Simui" (the depth of the mind). Cho Yong-ik famously defined the core of modern art as "Self-Negation." He believed that by constantly erasing each moment of his past life and work, he could clear the path for the creation of a new existence. This philosophy of continuous renewal remains a cornerstone of Korean contemporary art. Jan 18, 2026 The Mark of Time: Tracing the Origins of Eastern and Western Abstraction Oct 28, 2025 Shane Guffogg: Memories of Our Future Oct 6, 2025 Kim Kang Yong Solo Exhibition 《REALITY + IMAGE》 Opens Sep 23, 2025 “Presenting the Possibility of Creating a Language for Future Society through the Convergence of Art and Science & Technology” Sep 23, 2025 Chungbuk National University Discusses the Convergence of Art and Science. Special Lecture by Shane Guffogg, “From Einstein to AI,” Successfully Concluded Aug 26, 2025 BECOMING WITHOUT END: The Ever-Transforming Practice of Ed Moses Aug 4, 2025 Artist Stephen Robert Johns Breaks the Boundary Between Architecture and Painting Jul 31, 2025 Gallery Chang Expands Middletown’s Creative Vision Into the Heart of Manhattan Jun 5, 2025 Jimi Gleason’s First Solo Exhibition in Seoul Breaks the Boundaries of Perception Through Paintings of Light and Silence Apr 10, 2025 Star-studded New York Fashion Week 2025 Feb 9, 2025 Gallery Chang hosted 2025 New York Fashion Week: The Rendezvous of Art, Fashion, and AI Dec 18, 2024 Gallery Chang Officially Opens Its Seoul Location with Inaugural Exhibition by Yuri Gorbachev Sep 13, 2024 Alex Soldier x Gallery Chang Star-studded New York Fashion Week Aug 18, 2024 Kim In-ok’s New York Debut: ‘FAIRYTALE’ Jul 31, 2024 KANA and Gallery Chang Host Korean Artists' Group Exhibitions Jun 20, 2024 Yuri Gorbachev Solo Exhibition ‘Museum Collection’(6/20-7/27) May 14, 2024 At the Still Point of the Turning World - Strangers of Time Jan 14, 2026 2025 NYEAL Student Art Competition Winners Group Exhibition “Memory Pathwork.” Oct 15, 2025 Kim Kang Yong: “These Days, Even When I Paint with a Brush, People Still Call It Bricks” Sep 28, 2025 Cosmic Inspiration from the James Webb Space Telescope: Past, Present, and Future United on a Single Canvas Sep 23, 2025 Chungbuk National University Successfully Hosts Special Lecture by Shane Guffogg, “From Einstein to AI” Sep 22, 2025 Two Masters Meet at Gallery Chang Seoul: A Dual Exhibition by Kim Kang Yong and Shane Guffogg Aug 10, 2025 Shin Ki Woun’s Works Presented in New York: Solo Exhibition, Illusion of Permanence Aug 3, 2025 Gallery Chang Presents Time-Shift Exhibition in an Abandoned Building Jun 29, 2025 Does Beauty Exist Even in Moments of Rupture?Beautiful Rupture Jun 2, 2025 “Mirror-Like Paintings”: Jimi Gleason’s First Solo Exhibition in Seoul Apr 6, 2025 ILLUMINATED REFLECTION: Jimi Gleason Jan 21, 2025 Gallery Chang Seoul Opens Its First Exhibition of 2025 with Ahn Sungmin’s “Minhwa-Inspired, Minhwa-Esque” Dec 5, 2024 C4 Grand Opening in Seoul, Oakwood Premier Coex Center Sep 12, 2024 “Binary Equilibrium” Luxuriates in Polarity Aug 11, 2024 Korean Association of New York Artists (KANA) Part 2 ‘Unbound Playground’ Jul 30, 2024 Korean Association of New York Artists (KANA) Part 1 ‘Binary Equilibrium’ Jun 2, 2024 Mirror-like Paintings: Jimmy Gleason's First Solo Exhibition in Seoul May 13, 2024 New Exhibition in Upstate NY Feature Works of South Korean Artist Moon Insoo Jan 10, 2026 Revisiting the Essence Beyond Dansaekhwa: Knowing Cho Yong Ik Oct 7, 2025 REALITY + IMAGE: Revisiting the Works of the 2010s Sep 24, 2025 Chungbuk’s Future Lies Not in Seoul, but in the World: Exploring a “Global Strategy” in Cheongju Sep 23, 2025 Chungbuk’s Future Lies Not in Seoul, but in the World. Chang Junhwan, Shane Guffogg, and Lee Jong-tae Present a “Global Vision” Sep 11, 2025 American Contemporary Artist Shane Guffogg Solo Exhibition “Memories of the Future” Aug 5, 2025 Gallery Chang New York Presents Shin Ki Woun Solo Exhibition〈Illusion of Permanence〉 Jul 31, 2025 CHASE Project: Phase Shift Jun 18, 2025 Gallery Chang Hosts Five-Artist Group Exhibition May 1, 2025 World-Renowned Artist Shane Guffogg Holds His First Solo Exhibition in Korea Mar 30, 2025 The Encounter of Andy Moses and Jeff Koons Dec 20, 2024 The Essence of Perception: Group Exhibition Oct 25, 2024 Prince Mario-Max Schaumburg-Lippe: Exciting to see Biennale Star Shane Guffogg at Gallery Chang NYC Sep 9, 2024 Gallery Chang Hosts VIP Afterparty at New York Fashion Week 2024 Aug 9, 2024 KIM KANG YONG: SOLD OUT at KIAF 2024 Jul 29, 2024 Shane Guffogg: Part 5, The Life of the Artist and the Creative Process: "Certainty and Truth" May 19, 2024 Shane Guffogg presents At the Still Point of the Turning World – Strangers of Time SBS NEWS | SEP 28, 2025 Shane Guffogg: Mapping the Infinite Universe through Layers of Time The works of American contemporary artist Shane Guffogg invite viewers into a profound exploration of time’s coexistence and the overlapping of space. His latest exhibition captures the silent, majestic movements of the cosmos onto the canvas. The Interweaving of Infinite Lines Guffogg’s canvases are filled with countless thin, interwoven lines with no discernible beginning or end. As dozens of these layers accumulate, they create a sense of deep space—an abyss that resembles the orbital paths of planets. These lines represent the history of stars, born hundreds of thousands of light-years ago, whose light is only now reaching our eyes. Technique: A Devotional Process The artist’s unique technique involves binding three brushes of different sizes together, moving them in unison to translate the infinite world onto the canvas. This repetitive process of drawing slender, trajectory-like lines is akin to a spiritual practice or a seeker’s meditation. The Intersection of Past and Present Inspired by images from the James Webb Space Telescope, Guffogg focuses on the flow of time and space. His philosophy is rooted in the idea that what we perceive as the "past" (the light from distant stars) is actually our "present." His work challenges the viewer to face the traces of yesterday, the shadows of today, and the brilliance of tomorrow all at once.

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

Menu Close ARTISTS EXHIBITIONS New York Middletown Englewood Seoul VAULT - HANAM PROGRAM 2024 2023 2022 2020 2019 JOURNAL PRESS ABOUT Philosophy Careers SOLO EXHIBITION I NEW YORK ALISON VAN PELT: 40 YEARS PAINTING PORTRAITS 19 FEBRUARY 2026 – 31 MARCH 2026 ARTISTS | EXHIBITIONS | PROGRAM | JOURNAL | PRESS | ABOUT NEW YORK | MIDDLETOWN | ENGLEWOOD | SEOUL © 2026 GALLERY CHANG

2025 aaa HONGBIN KIM NOV 8, 2024- JAN 31,2025 Water Moon Mirror Flower KIM NAM JOO AUG 1- SEP 31 LAYERED ANON MAY 1- MAY 31 Embracing Autumn: Threads of Color ANON OCT 1- NOV 7 Harmony of Colors and Flavors GISELE PARK JUL 1- JUL 31 Happy Lunar New Year: Live Performance by Oh Kwan Jin at missKOREA BBQ OH KWAN JIN JAN 20- JAN 25 New York Fashion Week F/W 2024 VIP Afterparty NEW YORK FASHION WEEK 2024 SEP 7, 2024 Heart to Heart ANIKOON JUN 1- JUN 31

Jan 21 - Feb 28, 2025 Intro Catalog Installation Views Next [C4] Seoul Beyond Boundaries: Reinterpreting Tradition, Reimagining the Modern Jan 21 - Feb 28, 2025 Ahn Seongmin INTRO Time flows from the past to the present, but art transcends those boundaries, existing across eras. Seongmin Ahn’s work exemplifies this timeless quality, seamlessly moving between tradition and modernity, East and West. Her solo exhibition, "Beyond Boundaries: Reinterpreting Tradition, Reimagining the Modern" , invites us to experience a dialogue between the heritage of traditional Korean Minhwa and the creative language of contemporary art. At the core of Seongmin Ahn’s practice lies a fundamental question: “What is tradition, and how does it remain alive in the modern world?” Korean Minhwa , known for its symbolic imagery and free-spirited expressions, reflected the aspirations and emotions of everyday people. Yet in Ahn’s hands, Minhwa transforms into something more: a platform for reinterpretation and reinvention. Familiar motifs—cranes, lotus flowers, and Hwajodo (bird-and-flower paintings)—are reimagined alongside modern, Western objects and symbols of contemporary life. Through these juxtapositions, Ahn creates fresh narratives that blur the lines between past and present, East and West, tradition and innovation. Her work challenges the notion that tradition is static or confined to history. Instead, Ahn presents tradition as a living, evolving force, one that can interact with the present moment and inspire new meanings. Her canvases are not merely visual displays but philosophical spaces where boundaries are dissolved, allowing diverse cultural and temporal elements to coexist and create new artistic possibilities. This exhibition opens the year 2025 with profound significance—a symbolic beginning that bridges the vitality of tradition and the ingenuity of modern creativity. Ahn’s works inspire viewers to rediscover familiar stories while embracing the new, offering a glimpse into how the past and present can harmonize to produce something timeless and contemporary. 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

Jan 1 - 31, 2026 Intro Catalog Installation Views Next [Vault] Hanam Korea At the Still Point of the Turning World Jan 1 - 31, 2026 Shane Guffogg INTRO Gallery Chang – Vault presents a curated selection of 21 works by Shane Guffogg from his 2024 Venice Biennale exhibition, At the Still Point of the Turning World . Originally presented in Venice, these works marked a pivotal moment in Guffogg’s practice, where decades of sustained inquiry into perception, time, and consciousness converged in a body of paintings defined by quiet intensity and profound spatial awareness. At the heart of this exhibition is a sustained meditation on stillness—not as the absence of movement, but as a point of equilibrium within constant transformation. Guffogg’s layered surfaces, built through repeated acts of looking, revision, and restraint, invite the viewer into a temporal experience where perception unfolds slowly and deliberately. The paintings resist immediate comprehension, instead rewarding prolonged attention and contemplative engagement. Presented in the secluded setting of Gallery Chang – Vault, this exhibition recontextualizes the Venice Biennale works within an intimate, private environment. Removed from the scale and spectacle of the international exhibition format, the paintings are experienced here as singular encounters—allowing their subtle chromatic shifts, structural depth, and internal rhythms to fully resonate. This VIP-only, invitation-only presentation brings the emotional and philosophical gravity of Venice to Korea, offering collectors and invited guests a rare opportunity to engage closely with a body of work shaped by both place and introspection. At the Still Point of the Turning World ultimately proposes painting as a site of stillness amid flux—a space where time slows, perception deepens, and meaning quietly emerges. CATALOG View Catalog here INSTALLATION VIEWS

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

MAY 27 - JUN 28, 2025 Intro Catalog Installation Views Next [C4] Seoul Illuminated Silence MAY 27 - JUN 28, 2025 Jimi Gleason INTRO 지미 글리슨: Illuminated Silence 이번 전시는 LA의 William Turner Gallery와 뉴욕의 Gallery Chang에서 4월부터 5월까지 동시기에 진행 중인 개인전으로 시작되어, 서울 전시로 이어지는 Coast to Coast 순회 프로젝트의 마지막 장입니다. 미국 동부와 서부를 연결하는 이 전시는, 지미 그리슨의 작품이 각기 다른 도시의 빛과 공간 속에서 어떻게 감각적으로 변화하고 확장되는지를 경험하게 합니다. 지미 글리슨은 빛과 표면, 반사의 개념을 회화에 도입하여 독자적인 조형 언어를 구축해온 작가입니다. 금속성 안료와 특수 재료를 활용한 그의 화면은 단순한 시각적 이미지가 아니라, 관람자의 움직임과 빛의 방향에 따라 끊임없이 변화하는 ‘거울 같은 회화’입니다. 이러한 작업은 시각적 경험을 넘어서, 관객의 사유와 정서를 반사시키는 존재로 확장되며, 물리적 표면과 감각적 깊이를 동시에 보여줍니다. 고요한 침묵 속에서 빛을 발산하는 이 회화들은, 마치 시간을 품은 풍경처럼 관객을 멈춰 세우고 응시하게 만듭니다. 이번 전시의 제목 《Illuminated Silence》는, 그러한 그리슨의 작업 세계를 압축적으로 담아냅니다. 빛에 의해 드러나는 고요함, 혹은 고요함 속에서 발현되는 빛 — 이 양가적인 감각은, 회화가 가질 수 있는 가장 순수한 시적 순간을 환기시킵니다. 서울에서 처음 소개되는 이번 개인전은, 지미 글리슨의 대표작과 함께 신작도 포함하여 그의 작업 세계의 진화를 선명하게 보여줍니다. 빛과 침묵, 물질성과 비물질성 사이에서 회화의 새로운 가능성을 탐색하는 이 전시는, Gallery Chang이 지향하는 철학적 미학과도 깊은 연결을 이룹니다. CATALOG View Catalog here INSTALLATION VIEWS