Structures of Belonging
March 5 – 28, 2026
Opening reception: Thursday, Mar. 12th, 6-8 pm.
Asian & American Art Foundation: Paris koh fine Arts (526 West 26th Street, Suite 211, NY City) Proud to present a group exhibition Structures of Belonging: Daru Junghyang Kim, Jongsook Kang, Mikyung Kim, Pam Cooper, Sooyeong Lee, Heejung Kim, Sungho Choi, Park Joon, YeongGill Kim, Jose Camacho, HyunSook Moon. This exhibition runs from March 5 – 28, 2026 with an opening reception on Thursday, Mar. 12th from 6-8 pm.
A group exhibition Structures of Belonging brings together artists exploring how we locate ourselves within landscapes, cities, histories, and relationships. Through painting, sculpture, photography, and installation, the exhibition examines the emotional, social, spiritual, and political frameworks that shape connection and identity. From immigrant perspectives and urban grids to family bonds, myth, memory, and collective loss, these works ask what it means to belong in an era of displacement and interdependence. As the inaugural exhibition of Paris Koh Fine Arts in Chelsea, Structures of Belonging underscores the gallery’s commitment to socially engaged contemporary art.
Park Joon has developed his long-term series An Outsider’s Perspective – America the Beautiful over the past 27 years, capturing the vast landscapes of the United States through the contemplative gaze of an immigrant. Moving beyond the surface image of a “beautiful America,” his photographs explore the subtle emotional and psychological undercurrents embedded within grand terrains. The series reflects both a quiet question toward America as a second homeland and an intimate record of the artist’s inner journey
YeongGill Kim (b. 1957, Korea; based in New York) bridges Eastern and Western traditions through a contemplative language rooted in Korean ink aesthetics. Working in large-scale black-and-white acrylic, he creates luminous, textured surfaces that shift between meditative landscapes and dynamic fields of figures. Through this interplay of stillness and movement, Kim explores the psychological and spiritual tensions of contemporary life.
New York–based artist Daru-JungHyang Kim creates lyrical abstractions inspired by nature’s cycles of renewal, growth, and hope. Educated in Korea and New York, she develops contemporary landscapes in her Hudson Valley studio. Bridging spirituality and painterly reality, her layered circular forms evoke chi and eternal return. Her delicately built surfaces embrace imperfection and invite quiet contemplation on the fragile beauty of our interconnected world.
SungHo Choi’s Genusham series interrogates society’s obsession with luxury and authenticity, revealing the tension between genuine and sham. Extending beyond brand culture, his work questions distorted histories, political narratives, and achievements that often conceal painful truths. Through sharp conceptual contrasts, Choi critiques materialism and idealism in contemporary life. Based in New York since 1981, he has exhibited internationally and received major grants including the Pollock-Krasner Foundation and the National Endowment for the Arts.
Mars Heejung Kim explores the Universe through her signature use of dots, the most elemental form in art. Working in both 2-D and 3-D, her practice draws on Asian philosophy, dream imagery, and personal experience. Her work has been shown nationally and internationally, featured in ARTnews and The New York Times, and is included in collections such as the Princeton University Art Museum. Kim holds an MA in Art Education from the University of Illinois and an MFA from Stony Brook University. She teaches studio arts at Raritan Valley Community College and William Paterson University.
Sooyeong Lee presents Psyche (Terra Cotta, 30 × 40 in.), a bas-relief inspired by the story of Psyche from C.S. Lewis’s Till We Have Faces and Greek mythology. Drawing on spiritual traditions and natural elements, Lee’s sculptures merge fine arts and theology, creating forms that feel timeless and sacred. Her work embodies quiet strength and reverence, blurring the boundaries between the ancient and the present to become meditative presences in the space.
Pam Cooper presents Cutting Ties, an installation addressing the emotional impact of divorce on young children. Price tags threaded through scissors attempt to hold the blades closed, symbolizing the desire to prevent separation. Each tag pairs a child’s image with questions posed to their parents, including the haunting, “What did I do wrong?” Cooper received her BFA from Pratt Institute and has exhibited widely in New York and New Jersey.
HyunSook Moon presents works from her Imagine series, exploring human relationships, memory, and identity through the motif of the house. Simplified into points, lines, and planes, these forms unfold into faces, urban structures, and evolving shapes, reflecting the complexity of connection and community. Using mixed media, Moon creates tactile surfaces that invite viewers to trace, imagine, and engage with the networks of life, emphasizing acceptance, communication, and shared spaces central to Structures of Belonging.
Jong Sook Kang presents works from her Emptiness Series, porcelain vessels interwoven with gold, silver, black, and copper wire in grid-like formations inspired by Manhattan’s urban mesh. Shifting from her long-running apple series, Kang explores the philosophy of “complete emptiness,” using pierced forms and woven wire to reflect on human connection, social networks, and collective loss during the COVID-19 pandemic. The vessels function as meditative spaces where structure and void coexist, evoking both Zen contemplation and the complexity of contemporary life.
Mikyung Kim is a Korean-born conceptual sculptor based in New York whose work bridges ritual, material, and time, drawing from Eastern ceremonial traditions and altar-like forms. Her ongoing series Breath of Time / Tide in & out, part of Calendar / Marking Time (begun in 1993), features layered resin and pigment panels shaped by chance, gesture, and duration. In Structures of Belonging, Kim frames belonging as a temporal experience—where repetition and interrelated panels evoke collective memory and unseen connections.
José Camacho creates mixed-media works shaped by what he calls “controlled randomness.” Using aged, stained studio papers mounted on canvas, he transforms art-making remnants into layered reflections on time and memory. Text fragments, maps, and compressed stamped words form an abstract language of beauty and tension. Born in Puerto Rico and based in the United States since the 1980s, Camacho explores themes of colonial history, displacement, and belonging through gritty, industrial surfaces marked by ink and erasure.