n 1974, Ha Chong-Hyun turned conventional notions of painting upside down by adopting a new technique (1974–) series, which serves as a pillar of the Korean monochrome-painting movement known as Dansaekhwa. For the upcoming issue of , Seoul desk editor Andy St. Louis traces the trajectory of Ha’s experimental spirit, from his early works and the emergence of , to the steady expansion of that series over the course of decades, and the debut of his most recent series in 2022.
