‘Neither a techno-determinist nor a techno-pessimist, I have always wanted to comment on the impact of technology in our society by using it,’ Kim noted upon winning the $100,000 LG Guggenheim Award in February. She does this through multimedia installations such as the Delivery Dancer trilogy (2022–25), works built using AI, CGI, gaming technologies and live action that centre on the lives of two fictional female delivery drivers starting in a speculative Seoul, before moving to the multiverse and beyond. Kim’s worlds aren’t one-dimensional dystopias, however: the protagonists wrestle with, but also thrive in, a reality that melds the physical with the algorithmic. It has won her a following as one of the most nuanced operators of a new generation of artists tackling a sci-fi future that is already here. The artist was garlanded with solo shows this year at Hamburger Bahnhof, Berlin; MoMA PS1, New York; and M+, Hong Kong (the latter travelling to Powerhouse Museum, Sydney); as well as appearances in Thailand Biennale Phuket and New York’s Performa Biennial.