Art Fairs

BAMA 2026

April 1 — 4, 2026

BEXCO, Busan, Korea

Galleries Art Fair 2026

April 7 — 11, 2026

COEX, Seoul, Korea

EXPO Chicago 2026

April 8 — 11, 2026

Navy Pier, Chicago, USA

Art Brussels 2026

April 22 — 25, 2026

Brussels Expo, Brussels, Belgium

Art Monte-Carlo 2026

April 27 — 30, 2026

Grimaldi Forum Monaco

HIVE ART FAIR 2026

May 20 — 23, 2026

COEX Magok, Seoul, Korea

ZⓈONAMACO 2026

February 3 — 7, 2026

Banamex Center, Mexico City, Mexico

Art Geneve 2026

January 28 — 31, 2026

Palexpo Geneve convention center, Geneve, Switzerland

Art SG 2026

January 22 — 24, 2026

Marina Bay Sands, Singapore

Art Miami 2025

December 1 — 6, 2025

Art Miami Pavilion, Miami, USA

Abu Dhabi Art 2025

November 18 — 22, 2025

Manarat Al Saadiyat, Abu Dhabi, UAE

LEE & BAE presents a curated booth at Abu Dhabi Art 2025 under the theme “A Contemporary Interpretation of Eastern Landscapes,” now open at Booth A6. The way landscapes are portrayed for pure aesthetic contemplation has long varied between East and West. Especially in contemporary art, the interpretation and expression of landscapes span a wide spectrum. Through works by Korean, Chinese, and Japanese artists — each offering a subjective interpretation of landscapes through various media — LEE & BAE seeks to share the modern aesthetic of Eastern landscapes with the audience.

Diaf 2025

October 29, 2025 — November 1, 2025

EXCO, Daegu, Korea

KIAF Seoul 2025

September 2 — 6, 2025

COEX, Seoul, Korea

This year, Kiaf Seoul explores the theme of "Resonance," highlighting the ever-evolving landscape of contemporary art shaped by mutual influence among audiences, galleries, and institutions. In this spirit of resonance, LEE & BAE will present experimental works by five contemporary artists. atelierJAK explores “spaces in between,” observing points of human interaction and intersection. Moving between digital and analog media, their work visualizes subtle boundaries among phenomena, reality, and the real. By sharply capturing the gap between actual events and their representations in digital video, the collective questions the instability of perception and the uncertainty of existential truth. Mihei Her’s Entre-deux series encapsulates time and space within acrylic boxes juxtaposing contrasting images such as reality and fiction, interior and exterior. Through diverse modes of expression, these works collectively reconfigure the relationship between memory of space and the concept of existence. She presents the spaces and times she has personally experienced, framing her artistic practice as a form of theatrical play. In her work, the self appears simultaneously as subject, object, performer, and artist. Minjung Geum’s 'video sculptures’ that express the traces of the past remembered by specific places, combined with the movements of natural phenomena. She transforms emotions felt in specific places into geometric forms, blending them with realistic images of nature to express its movements. By embedding emotional patterns into simulated natural scenes, her work explores how human feelings toward nature can be visualized through scientific and geometric language. Jinwook Yeom’s Memory of Mountain series is a profound portrayal of timeless, absolute freedom through delicate and tranquil brushwork. She uniquely expresses perception in front of landscapes that resist depiction. Normally, our perception of form and color distinguishes objects from one another and separates the viewer from the seen. Yet Yeom’s work blurs the e boundaries, dissolving distinctions between object and object, viewer and vi ewed, opening up new dimensions of perception. Her paintings do not simply present something to be seen—they place us within the act of seeing itself. Bongsang Yoo creates dreamlike landscapes of light, meticulously rendered using hundreds of thousands of tiny pins. He doesn't depict landscapes. Rather, He reconstructs what remains after they pass — traces of perception, accumulated impressions of time — and raise them again on the surface. Yoo's work is built through a slow, meditative repetition of labor: hammering hundreds of thousands of headless pins into the panel. These pins are not brushes. They form topography, dictate direction, and create textures that carry light and shadow. Hammering pins into the panel is entirely manual and physical. He focuses not on emotion or narrative, but purely on labor itself. Each consistent strike, interval, and angle is not simple craft, but a structural operation.

Intersect Aspen 2025

July 28, 2025 — August 2, 2025

Aspen Ice Garden, Aspen, Colorado

LEE & BAE will present a curated booth at Intersect Aspen 2025 under the theme "Beyond the Surface: Layers of Perception". This curatorial theme unfolds through the works of four artists as they navigate the boundaries between digital and analog, tradition and modernity, abstraction and materiality. Each artist offers a unique perspective on how we perceive objects and the world around us—probing beneath surface appearances to explore deeper truths and the process of recognition. In doing so, the exhibition poses a fundamental philosophical question "What does it truly mean to see". While refusing the use of a fixed viewpoint, artist Jinwook Yeom expresses her intention of rejection in her series of forest-painting. In her painting, brush strokes are visualized in monochrome patterns, and the prevalent monochrome images structure the canvas. The gaze moves along the monotone fluently and dynamically. Thus you can read the images of the forest-painting at your will from the sky to the earth or from top to bottom. The tone fading from the mountain top to the ridges receding endlessly is flowing. The artist replaces the nature of painting that is essentially executed on the flat surface with the structure of the forest, and adjusts it in dark tone. Such structure of the canvas as hers tends to surpass landscape painting as a modern and contemporary genre and to be disparate from local landscape painting at home and abroad. For Sangmin Lee, pottery is a space where accumulated past times encounter the present moments and a medium for communing with ancestors across time and space. The artist moves the designed shape that he wants to express to the finished product of a 12mm glass sheet, and then digs out the back of the glass sheet and polishes its surface. The process of carving the surface of the glass with diamond sandpaper is similar to the process of self-discipline. With high-degree of concentration and professionalism, the artist only uses the touch of his hands to estimate the angle of the surface ground by sandpaper and creates an image of all things. Through this process of work, the artist embodies a reflection on the inside of all things, and defines his work as an ‘exploration of the inner world of all things.’ Hyojin Park incorporates symbolic objects into the lower part of her sculptures, drawing from Western mythological deities and the refined cultural artifacts of East Asia, such as traditional ceramics. These objects embody qualities such as dignity, divinity, elegance, and beauty. Through the harmonious combination of these idealized forms—gods representing human perfection and ceramics symbolizing the pinnacle of spiritual culture—Park paradoxically expresses the futility of a lavish life and the burden of upholding its illusions, while still suggesting that life holds inherent value and is worth continuing. Myunggyun You finds the way humans exist and the meaning of life through his work. He recognizes himself as an individual in nature, and focuses only on the echo from pure nature, the source of life.

Taipei Dangdai 2025

May 8 — 10, 2025

Taipei Nangang Exhibition Center Taipei City, Taiwan

Expo Chicago 2025

April 23 — 26, 2025

Navy Pier Festival Hall, Chicago, USA