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This essay explores the performance and conceptual art practices of South Korean art collectives in the 1970s, arguing that they repurposed Western avant-garde theories as a means of socio-political resistance against an authoritarian regime. The artists used avant-garde styles to mask their critical messages and evade censorship, positioning their work as a form of covert political agency. This analysis challenges dominant narratives in global art history by presenting these practices as a

Author

Pigeonbrained

Language

EN