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Exhibition Review


Korean American views

On exile, travel and unbelonging

Doryun Chong

Interior view of replica Korean house and BYRON KIM, Not Even One Spot of Shame,
2000, acrylic, watercolour on Korean paper on screen.

In the United States during the 1980s and early 1990s minority group artists taking on identity issues meant something.1 Such art, which was both an unabashed political statement and a much-needed antidote to the universal subject positing of American modernism, seems to have become passé. Radically political art sooner or later loses its edge and is…

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