“There is a renewed interest in non-Western abstraction as seen by the success of the Gutai, the postwar Japanese group who recently had a retrospective at the Guggenheim, and also of Lee U-fan ― himself an integral part of dansaekhwa. Korea is one of the very few Asian countries with a vigorous history of abstraction, the time is ripe for a reassessment of dansaekhwa’s place in a broader history of art,” said Kee in an email interview with The Korea Herald.

“What’s fascinating and significant about dansaekhwa is that it really shaped the field now celebrated in recent years as ‘contemporary Asian art,’” said Kee.

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