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ARTISTS REPRESENTED ARTISTS Ed Moses Yuri Gorbachev Andy Moses Stephen Robert Johns Ahn Seongmin Shin Kiwoun Kim Kang Yong Suh Yongsun Alison Van Pelt Steven Seinberg Bret Price Shane Guffogg Choi WoolGa Miguel Ángel Iglesias Mark Acetelli Moon Insoo Cho Yong Ik Jimi Gleason Kim Sea Joong Kim In Ok Oh Kwan Jin EXHIBITED ARTISTS Kim Mine Choi Sungho Kim Hongbin Yoo Choongmok Anon Kimi Kim Wittling Kim Hobong Kelly Berg Ahn Chaeyeun Kim Dawn Kim Youngmi M. Maresca Park Soo Vanessa Love Anikoon Kim Nam Joo Koo Nahyun Oh Jean Rho Paul Woo Jiyeon Cho Yuna Kim Sae Jun Kwon Yong Eun Oh Kai Suh Tae Kyung You Sun Im Jibin Kim Tae Joong Lee Calvin Park Gisele Theo Woodward

Aug 9 - 18, 2024 Intro Catalog Installation Views Next [C1] New York Unbound Playground Aug 9 - 18, 2024 KANA (Part 2) - Anikoon / Sun You / Yong Eun Kwon / Taekyung Suh / Hongbin Kim / Soo Park INTRO The 2024 KANA Summer Exhibition, a collaboration between KANA and Gallery Chang, will take place from July 30 to August 18. The exhibition is divided into two parts: Part 1: Binary Equilibrium and Part 2: Unbound Playground. Through this summer project, KANA aims to introduce artists with Korean roots in New York to a broader audience and create a platform for sharing inspiration and communication. Part 2 ’Unbound Playground‘ presents the works of 6 artists who use their unique visual languages and playful expressions to depict experiences, memories, and emotions. These pieces, characterized by whimsical perspectives, vibrant colors, and diverse materials, visually reconstruct personal moments from everyday life. ©KANA CATALOG View Catalog here INSTALLATION VIEWS

Apr 20 - May 24, 2025 Intro Catalog Installation Views Next [C4] Seoul Where Past and Future are Gathered Apr 20 - May 24, 2025 Shane Guffogg INTRO SHANE GUFFOGG: WHERE PAST AND FUTURE ARE GATHERED GALLERY CHANG, SOEUL, SOUTH KOREA Gallery Chang in Seoul, South Korea, presents Shane Guffogg: “Where Past and Future are Gathered” a solo exhibition featuring Guffogg’s Still Point paintings, a body of work deeply engaged with themes of time, transcendence, and the ephemeral nature of existence. While this marks the artist’s first exhibition in South Korea, the fundamental principles of his work—his balance of time, space, and form—are inherently aligned with the aesthetics of Korean art. Guffogg’s paintings serve as confessions of time, transforming unseen forces into tangible marks. His brushstrokes trace energies that mysteriously move into our world, capturing the presence in layers of light and movement. The viewer, as a receiver, is invited to witness these ephemeral forces through an immediate sensory (visual) experience. A key inspiration for Guffogg’s Still Point series is T.S. Eliot’s Four Quartets – a meditation on time, impermanence, and spiritual awakening. Each painting draws its title from stanzas of this poem, where the passage of time is examined through the elements—air, earth, water, and fire. Guffogg’s work does not illustrate Eliot’s poetry but rather embodies a visual language akin to calligraphy, where color and movement become expressive gestures of form and emotion. Through thousands of layered brushstrokes, his compositions unfold like wordless poems. The exhibition’s largest painting, “At the Still Point of the Turning World – The Surface Glittered out of the Heart of Light”, echoes Eliot’s meditation on time as both linear and cyclical, a concept deeply rooted in Korean philosophy. Korean art embraces impermanence and the importance of the present moment. Guffogg’s paintings, with their shifting luminosity and depth, reflect this philosophical understanding, existing between presence and absence, solidity and fluidity, stillness and motion. Guffogg’s process is a meditation in itself—he paints daily, working 8 to 10 hours in solitude, surrounded by nature at his ranch. Written in charcoal on the walls of his studio are stanzas from the poem, which Guffogg internalizes over long periods of time, until colors are sensorially connected to the words. Then the title informs the painting. His paintings emerge as moments in time that are seemingly without time as they are visually moving while still, revealing traces of his meditations through color and form. Another significant piece, “At the Still Point of the Turning World – Into the Rose Garden”, is a multi-colored variation of reds, purples, and ribbons of white. The title references Eliot’s symbolic garden—a place of purity, transformation, and the passage of time. In Korean culture, gardens similarly serve as spaces of contemplation, where nature becomes both a teacher and a metaphor. Rather than depicting these themes directly, Guffogg creates an abstract experience where color, line, and movement evoke transformation. Guffogg’s technique involves no preliminary sketches, and no assistants—only the repetition of intuitive movement. Each painting is made up of thousands of brushstrokes of glazes mixed with oil paint, creating an extraordinary depth that appears to suspend time itself. This meticulous process aligns with his belief that each brushstroke is a summoning of memory, a mark that bears witness to the unseen forces of existence. His synesthesia, the ability to perceive color as sound, further deepens this interplay. His paintings become silent symphonies, their tonalities resonating internally with the viewer. Guffogg’s use of color is never jarring; instead, his complementary hues create a sense of balance, inviting introspection rather than demanding interpretation. His works do not depict existential crises—they pose questions, seeking revelations of beauty and the unknown. In Guffogg’s work, color is not merely pigment—it is a presence, vibrating beyond the visual into something sensorial, emotional, and spiritual. His mastery of light and shadow recalls the Old Masters, yet he reinterprets their techniques for the contemporary world. At a time of constant acceleration, Guffogg’s paintings offer a rare moment of pause—a space for contemplation and transcendence. His work is deeply connected to art history, influenced by Kandinsky, Monet, and Turner, yet distinctly his own. Though this marks Guffogg’s first exhibition in Korea, it is not an introduction but a reconnection. His paintings, infused with rhythm, light, and emotion, align with the artistic and philosophical traditions of Korean thought. They invite us to engage with the essence of life itself—a dance of being—a luminous stillness within the turning world. By. Victoria Chapman CATALOG View Catalog here INSTALLATION VIEWS

Feb 16 - Mar 17, 2024 Intro Catalog Installation Views Next [C2] Middletown Emptying to Enrichment: Moon Jar’s Path Feb 16 - Mar 17, 2024 Oh Kwan Jin INTRO Under the esteemed guidance of Chang Jun Hwan, whose expertise spans renowned galleries worldwide, Gallery Chang is poised to revolutionize Middletown's cultural landscape, drawing inspiration from Dia:Beacon's transformative influence and envisioning Middletown, NY, as the next cultural beacon. Director Chang Jun Hwan, known for his involvement in notable endeavors including the 2018 Pyeong Chang Winter Olympics, envisions Gallery Chang not merely as an art gallery, but as a dynamic cultural hub fostering creativity, igniting community engagement, and catalyzing artistic expression in Middletown, NY. The inaugural exhibition at Gallery Chang's Middletown venue will showcase the solo works of Oh Kwan Jin, presented under the evocative title "Emptying to Enrichment: Moon Jars Path ” Running from February 16th to March 17th, visitors will have the opportunity to immerse themselves in Oh Kwan Jin's acclaimed artworks, which also include his notable contributions to Korean drama sets, cherished by K-pop enthusiasts and drama aficionados. Notably, Oh Kwan Jin's exhibition will feature new paintings, including "Blue Dragon," inspired by the Eastern astrological tradition where 2024 marks the Year of the Blue Dragon. This thematic piece adds a unique cultural resonance to the collection, complementing Oh Kwan Jin's new 2024 works. To mark this momentous occasion, the opening day festivities will be graced by a live performance from Oh Kwan Jin himself, offering attendees an intimate encounter with his artistry. With a seamless fusion of Eastern and Western influences, Oh Kwan Jin's oeuvre epitomizes Gallery Chang's commitment to promoting cross-cultural dialogue and appreciation. Distinguished guests, including the Mayor of Middletown and notable VIPs from various spheres, will be in attendance, underscoring the significance of Gallery Chang's endeavor in enriching both the local arts scene and the broader cultural landscape. “In Middletown, NY, Gallery Chang isn't just about art—it's a lively cultural hub," remarked Director Chang Jun Hwan during an interview. "We aim to foster creativity, community engagement, and cross-cultural dialogue, making a meaningful impact beyond the canvas." "Gallery Chang Set to Redefine Middletown's Artistic Identity" CATALOG View Catalog here INSTALLATION VIEWS

Jun 4 - 30, 2026 Intro Catalog Installation Views Next [C4] Seoul 형성 이전의 상태 Jun 4 - 30, 2026 Steven Seinberg / Mark Acetelli / Anon INTRO CATALOG View Catalog here INSTALLATION VIEWS

FEB 19 - MAR 31, 2026 Intro Catalog Installation Views Next [C1] New York Alison Van Pelt: 40 Years Painting Portraits FEB 19 - MAR 31, 2026 Alison Van Pelt INTRO Her process begins with a carefully rendered photorealistic underpainting. She then applies successive horizontal layers of oil paint across the surface. This deliberate blurring softens contours and disrupts clarity. The effect is both subtle and radical. Faces that feel instantly recognizable become unstable, shifting between presence and disappearance. By working with iconic figures such as Marilyn Monroe or John F Kennedy, Van Pelt engages the collective memory embedded in mass media. The blurred surface challenges the authority of the photograph and questions the permanence of identity. What does it mean to know a face that has been endlessly reproduced. How does repetition alter memory over time. This exhibition traces forty years of commitment to this singular inquiry. Early works reveal her foundational engagement with photographic realism and painterly interference. Later paintings introduce greater luminosity and spatial openness while maintaining the rigor of her method. Across decades, the horizontal veils function as both formal structure and conceptual device, evoking time, distance, and the fragility of remembrance. In an era defined by the speed and saturation of images, Van Pelt’s paintings insist on duration and reflection. They invite viewers to slow down and look carefully. Portraiture here is not a fixed likeness. It is a living encounter shaped by perception, history, and the inevitable erosion of certainty. CATALOG View Catalog here INSTALLATION VIEWS

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Mar 28 - Apr 28, 2026 Intro Catalog Installation Views Next [C4] Seoul Resonating Light: Interstice and Space Mar 28 - Apr 28, 2026 Jimi Gleason /Kim SeaJoong INTRO “Light has no form of its own, yet it reveals itself through the interstices and surfaces it inhabits.” In the spring of 2026, Gallery Chang presents a dialogue between two artists who explore the essence of light: Kim Sejoong of Korea and Jimi Gleason of the United States. This exhibition brings together two distinct yet resonant approaches—Kim’s contemplative inquiry into the poetics of the interstice, shaped within the intellectual solitude of Paris, and Gleason’s translation of California’s radiant energy into reflective, dynamic surfaces. Kim Sejoong’s work draws light inward. His practice reveals the quiet depth of light as it settles into layers, inhabiting space through accumulation, shadow, and stillness. His surfaces are not merely visual fields, but meditative structures where time and material converge. In contrast, Jimi Gleason’s work projects light outward. Through silver coatings and specialized pigments, his surfaces reflect and refract their surroundings, activating the space beyond the canvas. Light becomes an event—expanding, shifting, and engaging directly with the viewer’s presence. At the intersection of stillness and movement, contemplation and sensation, Resonating Light: Interstice and Surface presents a spectrum of perceptual experience. Between the quiet resonance that emerges from within and the luminous brilliance that fractures across the surface, viewers are invited to encounter light not simply as a visual phenomenon, but as a deeply personal and reflective presence. 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 8 - Jun 17, 2025 Intro Catalog Installation Views Next [C1] New York Urban Spectrum: Variations May 8 - Jun 17, 2025 Miguel Ángel Iglesias INTRO Urban Spectrum: Variations invites viewers into a contemplative realm where architecture and abstraction converge. For Miguel Angel Iglesias, the canvas is not simply a surface—it is a site of exploration where structure becomes sensation, and form becomes memory. Working with layered grids, subtle asymmetries, and architectural echoes, Iglesias crafts compositions that evoke both the geometry of the built environment and the fluidity of human perception. His work resists categorization: it neither fully represents nor entirely abstracts. Instead, it meditates on the in-between—on the quiet tension between the visible and the invisible, the controlled and the intuitive. This New York solo exhibition marks a poignant resonance. In a city where verticality and velocity dominate, Iglesias offers pause. His visual language mirrors urban life not through literal representation, but through rhythmic variations, interruptions, and restrained dissonance. The result is a series of works that feel less like depictions and more like encounters—reminding us that every city has its own metaphysical logic, shaped not only by space, but by presence, emotion, and time. CATALOG View Catalog here INSTALLATION VIEWS