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Tina Kim Gallery also works closely with Vintage20, a private dealer specializing in mid-century and modern furniture and design.

Tina Kim Gallery, founded by Tina Kim, is affiliated with Kukje Gallery in Seoul, Korea and regularly collaborates on organizing exhibitions by internationally renowned artists and introducing emerging Korean artists to an international audience. For information about Tina Kim, follow the gallery on Twitter, Instagram, and Tumblr to stay updated on the latest news regarding Tina Kim and contemporary art:

Tina Kim Gallery on Twitter: https://twitter.com/TinaKimGallery
Tina Kim Gallery on Instagram: http://instagram.com/tinakimgallery/ #
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10/08/2026

For the 2026 edition of Art Basel Paris, New York’s Tina Kim Gallery and Tokyo’s Take Ninagawa present a dual presentation reflecting the strength and synergy of our international programs, which trace the critical artistic influence of the modern and contemporary Asian diaspora.

Tina Kim Gallery will highlight new and recent works by Mire Lee, Maia Ruth Lee, Suki Seokyeong Kang, and Ghada Amer alongside rare and historic works by Pacita Abad, Kim Lim, Lee ShinJa, Ha Chong-Hyun, Park Seo-Bo, and Kim Tschang-Yeul.

Art Basel Paris 2026 | October 23–25, 2026
Tina Kim Gallery | Booth O.A2

10/07/2026

𝘔𝘢𝘪𝘢 𝘙𝘶𝘵𝘩 𝘓𝘦𝘦: 𝘋𝘰𝘶𝘣𝘭𝘦 𝘝𝘪𝘴𝘪𝘰𝘯 is on view at Tina Kim Gallery through October 24.

The exhibition includes new works from Lee’s 𝘉𝘰𝘯𝘥𝘢𝘨𝘦 𝘉𝘢𝘨𝘨𝘢𝘨𝘦 series, titled 𝘉.𝘉.𝘛𝘦𝘵𝘳𝘪𝘴. The paintings begin their lives as three-dimensional objects, bundles of linen, clothing, and other used materials fastened with cord, which are then dyed with pigments. The cords are removed and the canvas is unfurled to reveal map-like patterns that bear the traces of its past as a bound object. Through abstraction, Lee’s work fluctuates between states of being settled and states of change.

Across the gallery, Lee’s work expands and contracts image and sculpture, memory and record. Tetris works and sculptural forms stack, unfold, mirror, and reassemble, building identity as a continuous accumulation and complicating the narrative of migration as a fixed point of origin.

On October 14, Maia Ruth Lee will be participating in a conversation for the Brooklyn Rail, hosted by Simon Wu. Visit the link in our bio for more information.

Shown here:
Maia Ruth Lee, 𝘉.𝘉.𝘛𝘦𝘵𝘳𝘪𝘴 1-5, 2026; 𝘉.𝘉.𝘛𝘦𝘵𝘳𝘪𝘴 1-2, 2026; 𝘉.𝘉.𝘛𝘦𝘵𝘳𝘪𝘴 1-4, 2026; 𝘉.𝘉.𝘛𝘦𝘵𝘳𝘪𝘴 1-1, 2026.

10/01/2026

Suki Seokyeong Kang is featured in the 2026 Busan Biennale, 𝘋𝘪𝘴𝘴𝘪𝘥𝘦𝘯𝘵 𝘊𝘩𝘰𝘳𝘶𝘴, on view through November 1.

Considering Busan as a city shaped by movement, labor, migration, and the sea, 𝘋𝘪𝘴𝘴𝘪𝘥𝘦𝘯𝘵 𝘊𝘩𝘰𝘳𝘶𝘴 asks how sound can become a language of resistance and solidarity. Rooted in the belief that sound, like water, resists containment, the exhibition follows sonic and embodied practices that posit the body as a living archive.

Suki Seokyeong Kang’s research-driven practice spanned across media, incorporating sculpture, painting, video, installation, and performance, as she investigated the notion of space and its relationship to an individual’s position within society. Kang referenced traditional Korean musical notation as an organizational framework, transposing the formal language of the grid into modular formations, configuring them into a rich visual score suggesting the possibility of a collective consciousness rooted in individual action.

Shown here: Installation views of Suki Seokyeong Kang in the 2026 Busan Biennale, 𝘋𝘪𝘴𝘴𝘪𝘥𝘦𝘯𝘵 𝘊𝘩𝘰𝘳𝘶𝘴 (August 29–November 1, 2026). Images courtesy of Busan Biennale Organizing Committee.

09/25/2026

𝘏𝘢 𝘊𝘩𝘰𝘯𝘨-𝘏𝘺𝘶𝘯: 𝘙𝘦𝘵𝘳𝘰𝘴𝘱𝘦𝘤𝘵𝘪𝘷𝘦 opens today at the Asian Art Museum of San Francisco. Curated by Sunjung Kim, Artistic Director of Art Sonje Center, the exhibition marks Ha’s first North American museum survey and brings together six decades of his boundary-pushing practice on an unprecedented scale.

Ha Chong-Hyun (b. 1935, Sancheong, Korea) is widely regarded as one of the most influential figures in Korean contemporary art. Throughout his career, he has remained deeply committed to the possibilities of painting, continually challenging its conventions and materials—from his early Art Informel and geometric experiments, to his conceptual installations as a founding member of the Korean Avant-Garde Association, to the development of his signature 𝘊𝘰𝘯𝘫𝘶𝘯𝘤𝘵𝘪𝘰𝘯 series.

Spanning the breadth of Ha’s practice, the exhibition features significant early works on view for the first time in the U.S., alongside new works from the artist’s studio. Together, they trace a practice closely intertwined with Korea’s postwar transformation while situating Ha’s work within the broader history of global contemporary art.

𝘏𝘢 𝘊𝘩𝘰𝘯𝘨-𝘏𝘺𝘶𝘯: 𝘙𝘦𝘵𝘳𝘰𝘴𝘱𝘦𝘤𝘵𝘪𝘷𝘦 remains on view through January 25, 2027. An accompanying catalog will be published by Tina Kim Gallery and Gregory R. Miller & Co. in early 2027.

Shown here: Installation views of 𝘏𝘢 𝘊𝘩𝘰𝘯𝘨-𝘏𝘺𝘶𝘯: 𝘙𝘦𝘵𝘳𝘰𝘴𝘱𝘦𝘤𝘵𝘪𝘷𝘦 at the Asian Art Museum of San Francisco (September 25, 2026–January 25, 2027). Courtesy the artist, the Asian Art Museum of San Francisco, and Tina Kim Gallery. Photo: Aaron Wojack.

09/17/2026

Frieze Presents Korea Focus 2026: Chung Seoyoung Artist Profile

Chung Seoyoung talks with Cassie Packard (Cassie Packard) about her solo exhibition, 𝘌𝘯𝘥𝘭𝘦𝘴𝘴 𝘍𝘢𝘤𝘵𝘴, held earlier this year at Fire Station, Doha, Qatar. 𝘌𝘯𝘥𝘭𝘦𝘴𝘴 𝘍𝘢𝘤𝘵𝘴 traced the last three decades of Chung’s practice, spanning a wide range of mediums—such as Styrofoam, concrete, wood, rope, and carpet—that evoke and riff on domestic forms. In her work, Chung makes the familiar unfamiliar, transforming everyday objects and imagery to question the nature of the material world. In this Frieze profile, Chung discusses her interest in “the delicate point at which sculpture intersects with objects—or what we might call ‘things’—as forms of social evidence or traces.”

This profile was published in a special issue of Frieze Magazine dedicated to Korea Focus on the occasion of Frieze Seoul 2026.

Images: Installation views of Chung Seoyoung, 𝘌𝘯𝘥𝘭𝘦𝘴𝘴 𝘍𝘢𝘤𝘵𝘴, Fire Station, Garage Gallery, Doha, Qatar, February 5 – May 31, 2026. Courtesy of the artist and Fire Station.

09/16/2026

𝘎𝘩𝘢𝘥𝘢 𝘈𝘮𝘦𝘳. 𝘚𝘤𝘶𝘭𝘱𝘵𝘶𝘳𝘦 𝘚𝘪𝘯𝘤𝘦 1991 opens Thursday at Es Baluard Museu d’Art Contemporani de Palma in Mallorca, Spain.

Amer is best known for making works that appropriate erotic imagery of women. Among the sculptures presented at Es Baluard Museu are Amer’s monumental bronze series, 𝘗𝘢𝘳𝘢𝘷𝘦𝘯𝘵 𝘎𝘪𝘳𝘭𝘴. Beginning with studies drawn on flattened cardboard boxes, these works were then transferred into clay drawings before being cast in bronze. Bearing tangible traces of the artist’s process, the bronze works remake the artist’s chosen imagery—scenes of women in states of undress—into large-scale renditions, attesting to the artist’s materially-oriented approach to art making.

Shown here:
Ghada Amer, 𝘑𝘦𝘯𝘯𝘪𝘧𝘦𝘳 𝘢𝘯𝘥 𝘉𝘢𝘳𝘣𝘢𝘳𝘢 (𝘣𝘳𝘰𝘯𝘻𝘦), 2022, recto and verso.
Ghada Amer, 𝘚𝘶𝘻𝘺 𝘗𝘭𝘢𝘺𝘪𝘯𝘨 (𝘣𝘳𝘰𝘯𝘻𝘦), 2022, recto and verso.
Photo: Dario Lasagni

09/10/2026

Opening tonight: 𝘔𝘢𝘪𝘢 𝘙𝘶𝘵𝘩 𝘓𝘦𝘦: 𝘋𝘰𝘶𝘣𝘭𝘦 𝘝𝘪𝘴𝘪𝘰𝘯.

𝘋𝘰𝘶𝘣𝘭𝘦 𝘝𝘪𝘴𝘪𝘰𝘯 is Maia Ruth Lee’s second solo exhibition at Tina Kim Gallery, and brings together new paintings from the artist’s 𝘉𝘰𝘯𝘥𝘢𝘨𝘦 𝘉𝘢𝘨𝘨𝘢𝘨𝘦 series, as well as the debut of new sculptural and video works. In the exhibition, mirrors, suitcases, sculptures, textiles, salvaged objects, and paintings are sites of doubled perception. Lee’s practice interrogates migration as simultaneous perception, conditioning identity within multiple histories, temporalities, and systems of knowledge.

Join us tonight, 6–8 PM for the public reception.

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Shown here: Installation views of 𝘔𝘢𝘪𝘢 𝘙𝘶𝘵𝘩 𝘓𝘦𝘦: 𝘋𝘰𝘶𝘣𝘭𝘦 𝘝𝘪𝘴𝘪𝘰𝘯 at Tina Kim Gallery. Courtesy the artist and Tina Kim Gallery. Photo: Hyunjung Rhee.

09/09/2026

Maia Ruth Lee speaks with Vogue’s Grace Edquist ahead of 𝘋𝘰𝘶𝘣𝘭𝘦 𝘝𝘪𝘴𝘪𝘰𝘯, Lee’s solo exhibition opening at the gallery this Thursday.

Lee recounts her itinerant life—from her childhood in Nepal and college years in Seoul, to her adulthood in New York, Colorado, and San Francisco—and how these experiences shaped her focus on migration and memory. Among the works featured are new paintings, latex sculptures, a video featuring family footage, and expandable-luggage sculptures. On view will also be a new 𝘎𝘭𝘺𝘱𝘩 installation, part of the body of work that will become her 2027 Queens Museum commission.

Across these varied forms, Lee sees her practice as an interconnected whole: “It becomes flat, it becomes sturdy, it becomes latex, it becomes a painting, it becomes an installation—but they’re all kind of in the same world.”

𝘋𝘰𝘶𝘣𝘭𝘦 𝘝𝘪𝘴𝘪𝘰𝘯 opens Thursday, September 10, 6–8pm.

Read more via the link in our bio.

09/03/2026

📰News Flash: For 𝘛𝘩𝘦 𝘕𝘦𝘸 𝘠𝘰𝘳𝘬 𝘛𝘪𝘮𝘦𝘴, Ha Chong-Hyun (HA CHONG-HYUN (하종현)) speaks with Andrew Russeth about Dansaekhwa’s humble origins and enduring legacy.

Emerging in South Korea during a period of profound social and political upheaval, artists including Ha Chong-Hyun, Kim Tschang-Yeul, Park Seo-Bo, and Lee Ufan sought refuge in the meditative and tactile qualities of the painting process. In doing so, they forged a signature aesthetic retroactively labeled as “Dansaekhwa” (monochrome painting) by critics and historians.

“I never imagined that a time like this would come,” acknowledged Ha, reflecting on the staggering critical and institutional attention that Dansaekhwa has received in the past decade.

The feature underscores the lasting influence of Dansaekhwa artists at home and abroad—a momentum reflected in a year of major milestones. Highlights include the openings of the PARKSEOBO MUSEUM and Kim Tschang-Yeul Atelier in Seoul, alongside Ha Chong-Hyun’s first North American museum exhibition, opening September 25 at the Asian Art Museum of San Francisco.

Visit the link in our bio to read the full article.

09/02/2026

Catch a sneak peek of 𝘔𝘢𝘪𝘢 𝘙𝘶𝘵𝘩 𝘓𝘦𝘦: 𝘋𝘰𝘶𝘣𝘭𝘦 𝘝𝘪𝘴𝘪𝘰𝘯 ahead of the opening reception on September 10.

Across the gallery, Lee’s work expands and contracts image and sculpture, memory and record. Forms stack, unfold, mirror, and reassemble, building identity as a continuous accumulation, complicating the narrative of migration as one fixed point of origin. 𝘋𝘰𝘶𝘣𝘭𝘦 𝘝𝘪𝘴𝘪𝘰𝘯 features new works by Lee, spanning paintings made with her signature 𝘉𝘰𝘯𝘥𝘢𝘨𝘦 𝘉𝘢𝘨𝘨𝘢𝘨𝘦 methodology; latex sculptures that echo the 𝘉𝘰𝘯𝘥𝘢𝘨𝘦 𝘉𝘢𝘨𝘨𝘢𝘨𝘦 forms; an installation of expandable luggage printed with imagery of the artist’s family; a newly commissioned video installation; and assemblages from Lee’s 𝘎𝘭𝘺𝘱𝘩𝘴 series, as seen in the 2019 Whitney Biennale.

Address

525 W 21st Street
New York, NY
10011

Opening Hours

Tuesday	10am - 6pm
Wednesday	10am - 6pm
Thursday	10am - 6pm
Friday	10am - 6pm
Saturday	10am - 6pm

Telephone

+12127161100

Website

http://www.tinakimgallery.com/

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