On May 9, Korean galleries Gallery Hyundai and G Gallery were named among Artsy’s “The 10 Best Booths at Frieze New York 2025.” 

Gallery Hyundai’s booth B06, selected as one of the Best Booths, featured a solo presentation by artist Moon Kyungwon, unveiling her new painting series ‘Soft Curtain’ for the first time. This new series marks Moon Kyungwon’s first solo venture into painting, following her long-standing collaboration with artist Jeon Joonho on media installations and video projects.

Moon Kyungwon’s latest series is also the result of a visual inquiry reflecting the artist’s personal, internal transformation. After experiencing a recent decline in vision, she began exploring new painterly approaches to the conditions of perception and cognition. The canvases, which oscillate between light and darkness, clarity and afterimage, can be read as a painterly response to these physical changes. 

Artsy editor Arun Kakar describes Moon’s work as follows: “The artist captures what lies beyond the veil of the landscape—what she refers to as a ‘mechanism for making visible what cannot be seen.’ The result is works that are layered both literally and metaphorically, with the artist weaving different brushstrokes and textural flourishes to craft delicate, and often eerie, scenes. These works move beyond traditional landscape paintings, evoking erasure and temporality through fading hues and blurred reflections.”

Meanwhile, G Gallery, which made its debut at Frieze New York this year, presented a media installation by emerging artist Yehwan Song (b. 1995) at booth F11. Based in New York, web artist Song creates unconventional, free, and independent internet spaces beyond standardized platforms. 

At Frieze New York, Song showcased her installation Internet Barnacles, which uses projection mapping technology to cast digital imagery onto a large-scale cardboard structure and barnacle-shaped forms. The artist conceptualizes the vast world of the internet as an “ocean,” and likens contemporary users navigating within it to “barnacles” attached to its surface.

Regarding Song’s work, Artsy editor Arun Kakar noted, “As one’s attention diverts from different screens to panels, in which imagery is scattered and refracted, forgotten and half-remembered—an experience reminiscent of an algorithmically charged doomscroll.” 

Yehwan Song, making her debut at Frieze New York, garnered notable attention and marked a successful start by selling one edition of her work early in the fair’s opening.

References

• Artsy, The 10 Best Booths at Frieze New York 2025 
• 갤러리현대(Gallery Hyundai), [News] The 10 Best Booths at Frieze New York 2025