Korea Art Market Forum 2026 took place on September 30 at Art Korea Lab in Gwanghwamun, jointly organized by the Paradise Cultural Foundation and the Business Research Institute at Seoul National University. Marking five years of collaboration between Kiaf and Frieze, the forum addressed Korea’s gallery landscape, art fairs and cities, and young artists. Sang-Hoon Kim, a professor at Seoul National University Business School, delivered the opening remarks.

An archive is not a warehouse in which materials are simply accumulated. It is a structure that preserves and reconnects the relationships between them. Consider a single work of art. Its title and artist’s name are not enough to fully understand it. When was it made? What materials does it comprise?

The 16th Gwangju Biennale opened on September 5, 2026. Titled 《You Must Change Your Life》, the biennale presents its main exhibition and pavilion projects through November 15.

On July 1, the Ministry of Personnel Management opened a public recruitment process for a new director of the National Museum of Modern and Contemporary Art, Korea (MMCA). The term of current director Kim Sung-hee expires this September. As the search began, the names of several potential candidates quickly started circulating within the Korean art world.

On July 26, 2026, the Art Services Business Registration System came into effect under the Art Promotion Act. Businesses operating in six categories—galleries, art auctions, art advisory services, art rental and sales, art appraisal, and art exhibitions—are now required to register with the relevant local authority.

Art spaces are more than venues for exhibiting works of art. They serve as vital intermediaries that discover new artists, generate critical discourse, and connect audiences, markets, and institutions. Changes in these spaces, therefore, are not simply matters of individual organizations adopting different modes of operation. They are important indicators of how the contemporary art ecosystem has evolved and the direction in which it is moving.

Korean experimental art is driven by artists seeking to experiment and innovate and is comprised of attempts to overcome conventional art forms and experiences. In these attempts, artists have pushed the boundaries of convention and created original works, helping shape a culture that values artistic freedom and diversity.

While there are countless artists who have contributed to the development of the experimental art movement, we will highlight a few of them in the hope that their work will help more people to better understand the landscape of experimental art in Korea.

This article will provide a brief introduction to the prominent groups such as Korean Avant-Garde Association” (A.G., 1969–1975), “Space & Time” (S.T., 1969–1981), and “The Fourth Group” (1970).

While various groups have contributed to the advancement of experimental art through their activities, this article will provide a brief introduction to the prominent groups such as “Mudongin (Zero Group),” “Origin Society,” and ” Sinjeon dongin (New Exhibition Group).”

Understanding the international influences on Korean experimental art is vital, as it will illuminate the unique position Korean experimental art occupies on the international art stage.

Korean experimental art (“silheommisul”) is gaining recognition both within Korea and on the international stage. But what exactly is Korean experimental art?