Art OnO 2026 Report

34 not-for-profit institutions and commercial galleries

Art OnO 2026 at SETEC, Seoul. Image courtesy of Art OnO.

The third edition of Art OnO ran from 3 to 5 April 2026, at SETEC in Seoul. It took place during a particularly packed art fair calendar, coming right after Art Basel Hong Kong, and concurrently with Busan Annual Market of Art (BAMA) on the same weekend. Galleries Art Fair, organised by the Galleries Association of Korea that also runs Kiaf SEOUL, happened the week after from 8 to 12 April 2026. The momentum and energy around contemporary art is palpable. 

Relative to the other Korean and regional art fairs, Art OnO is intimate. The boutique fair was spread across three exhibition halls, where 34 commercial galleries and not-for-profit institutions exhibited side-by-side. There was also a sizable section featuring artworks from the private collections of Soyoung Lee and Hyejin Lee. International collectors such as Chong Zhou, Vicky Chen, and Olivia Li attended the event, as well as institutional figures such as Yoon Bum-mo, President of Gwangju Biennale Foundation, and representatives from The Metropolitan Museum of Art and Yuz Museum.

Gwon Seungchan, Powerless Landscape, 2025, installation view in Jeonnam Museum of Art’s presentation at Art OnO 2026. Image courtesy of Art OnO.

Presentation of works from Suwon Museum of Art collection at Art OnO 2026. Image courtesy of Art OnO.

For visitors who are new to the Korean art scene, the presentations by regional art museums were effective introductions to their programme. Jeonnam Museum of Art, which is located in the southern region of the country, showed works by Gwon Seungchan, Eko Nugroho, and Maryanto acquired following recent exhibitions at the museum. “The three artists presented are rooted in their respective localities, and their works resonate strongly with the cultural and geographical context in which the museum is situated,” Director Lee Ji-ho elaborated. “It has been a meaningful opportunity to share this identity with a broader audience as we celebrate our fifth anniversary this year.”

Similarly, Suwon Museum of Art (SUMA) sees its participation as a way to reach audiences beyond the institutional framework and articulate its vision on a broader platform. “Beginning with the artistic and intellectual legacy of Na Hye-seok, a modern painter and thinker from Suwon, SUMA has developed a collection shaped by feminist perspectives and contemporary concerns,” said Senior Curator Sung Rim Hwang. “We are committed to becoming a ‘museum for everyone’, an inclusive institution rooted in its local community.”

Spring Fever, 2026, exhibition view of works by Jiho Park at SONGEUN Art and Cultural Foundation, Seoul. © SONGEUN Art and Cultural Foundation and the Artist. Photo by STUDIO JAYBEE.

Among the private nonprofit initiatives, SONGEUN Art and Cultural Foundation had the strongest presence. It mounted two contrasting solo presentations: a suite of paintings on movable panels by Ji Seon Kim, and Jungju Ahn’s video installation. Artistic Director Laurencina Farrant-Lee sees the foundation’s participation in Art OnO 2026 as a valuable site of exchange that allows them to remain closely connected to artists, galleries, and audiences. “Many leading international institutions already engage with art fairs through research, patron programs, and acquisition networks,” she noted. “In this context, the fair becomes an extension of institutional activity rather than a separate sphere.” 

This ethos was carried through beyond the fair, in the first edition of Spring Fever (2026), a biennial programme at SONGEUN’s space. It featured ambitious solo exhibitions by emerging Korean artists Jaehyun Kim, Jiho Park, and Ria Choi, who each took up one floor in the Herzog & de Meuron designed building. The three artists were selected through an open call process from among 822 applicants. Capping off the programme, SONGEUN has partnered with the PARKSEOBO FOUNDATION which committed to acquiring one work from each artist in Spring Fever. 

ThisWeekendRoom, booth installation view at Art OnO 2026. Image courtesy of the artists and ThisWeekendRoom.

We also spoke with four participating galleries that shared their experience at Art OnO. ThisWeekendRoom Director Yeni Bang commented that this year felt especially meaningful because of the distinctive format that brought together galleries alongside institutions. “We were particularly encouraged by the strong interest and meaningful conversations throughout Art OnO 2026, leading to new connections that we look forward to developing further,” she elaborated. The Seoul-based gallery participated in all three editions of Art OnO, and mentioned acquisitions made by individual collectors. Their presentation featured works by seven artists from South Korea, Lithuania, and Germany.

drawingRoom, booth installation view at Art OnO 2026. Image courtesy of the artists and drawingRoom.

drawingRoom managed to place works by all six artists presented at the fair, priced between USD2,000 and USD 15,000. Among them, nearly all of Lee Sanoh’s works sold during the fair. Founder Heejung Kim noted that particularly strong interest from young collectors. “Despite concerns around global conflicts and economic uncertainty, sales at the fair remained active and encouraging,” she explained. “Compared to last year, we were able to meet many new clients, and felt that both the audience and collector base had become more diverse.” Kim recounted a memorable interaction with an art teacher, who mentioned that she actively collects artworks to share with her students as reference and inspiration in the classroom. For drawingRoom, Art OnO is a fair where collectors are less driven by trends and more focused on discovering and refining their own tastes.

CHOI&CHOI Gallery, booth installation view of works by Wonkun Jun. Image courtesy of CHOI&CHOI Gallery and the artist.

CHOI&CHOI Gallery, which has spaces in Seoul and Cologne, sold several small-scale works in the range of USD2,000 to USD3,000. “The collectors were primarily established Seoul-based private collectors, including both long-time supporters of the gallery and some newer connections made at the fair,” said Manager Erik Kim. He highlighted strong interest in works by Wonkun Jun and Gijeong Goo. Jun’s paintings, which bring together European modernist philosophies of image-making with sensibilities rooted in Dansaekhwa, resonated with local collectors, while Goo’s stainless steel LED installations also attracted significant attention. Kim added, “This year we observed increased interest in emerging artists from both Korean and international contexts, reflecting a continued openness among collectors to discover new voices.”

Yuri Zupancic, Body Electric Nº8, 2022, oil paint on circuit board, mounted with neodymium magnet, 12 x 5 x 2cm. Image courtesy of the artist and Artemin Gallery.

For Taipei-based Artemin Gallery, it was their second participation in Art OnO. They sold nearly half of the artworks brought to the fair, primarily pieces by Yuri Zupancic and Crystal Lupa priced between USD500 and USD5,000. There was also a high number of inquiries for Tung-Lung Wu’s work. All the buyers are new to the gallery and from South Korea. Founder Ben Hsiao remarked, “We are very pleased to be gradually building recognition and trust within the Korean art scene.” He added that Artemin Gallery looks forward to the opportunity to return to the fair next year. 

Overall, the mood at Art OnO 2026 was light and relaxed. While the fair layout primarily consisted of individual booths, the mix of participants and curatorial sensibilities provided a novel experience that encouraged discovery. It spoke to the desire for curated experiences that feel personable, which is an appealing proposition for art lovers, both seasoned and new.  

This article is presented in partnership with Art OnO 2026.