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modern korean art book exhibition 2653829

A new exhibition and book, "The Making of Modern Korean Art: The Letters of Kim Tschang-Yeul, Kim Whanki, Lee Ufan, and Park Seo-Bo, 1961-1982," at Tina Kim Gallery in New York presents the early correspondence and artworks of four pioneering Korean artists. The show, on view through June 21, features paintings by Lee Ufan, Kim Whanki, Park Seo-Bo, and Kim Tschang-Yeul, alongside letters that document their struggles and aspirations during the 1960s and '70s, before they gained international recognition. The accompanying book, published by Gregory R. Miller & Co. and Tina Kim Gallery, is edited by art historians Yeon Shim Chung and Doryun Chong.

What to Look for at Frieze New York 2026

Frieze New York 2026 returns to The Shed in Hudson Yards from May 13–17, featuring over 65 international galleries in its 15th edition. The fair emphasizes Latin American art with new committee members Fátima González and Omayra Alvarado, and includes highlights such as Southern Guild's expansion into Tribeca and Yeni Mao's cyborg sculptures in the Focus section. Collectors and enthusiasts can explore a diverse range of contemporary and blue-chip works across multiple fairs during Art Week.

ArtReview Podcast | Episode 6: Hyeree Ro

ArtReview Podcast episode 6 features artist Hyeree Ro, who speaks with associate editor Jenny Wu about her practice, including her attraction to objects with ambiguous functions. Ro discusses her work *Niro* (2024), a skeletal car installation exploring her relationship with her late father, and her upcoming exhibition at the Korean pavilion for the 61st Venice Biennale. The episode also touches on gardens and maintaining friendships as artists, with references to the Soswaewon garden and Hua Hsu's memoir *Stay True*.

Hyeree Ro: What Bears

Hyeree Ro is preparing for the 2026 Venice Biennale, where she will present the work "Bearing (2026)" as part of the Korean Pavilion, titled "Liberation Space: Fortress/Nest." The article follows Ro in her temporary Brooklyn studio, where she works with salvaged objects and materials that migrate across multiple works over years—such as a sheet of organza purchased in 2023 that later appeared in "Niro (2024)" and "Carry (2025)" before being repurposed as the pavilion's fabric walls. Her practice is defined by a nomadic, accumulative material logic: objects enter without a fixed destination and gain meaning through repeated reuse.