A collection of venetian blinds were at the centre of Yang’s recent solo exhibition at London’s Hayward Gallery. This staple object, used by the artist for nearly 20 years, framed a videowork in which she revisits the abandoned house that served as the venue for her first solo exhibition in South Korea in 2006. Featuring an installation formed from drying racks, origami pieces and light fixtures, that historic – and self-initiated – show set the tone for a career in which the architectural detritus of the everyday has been used to poetically reference art historical moments, political events or folk rituals. The Hayward exhibition garnered a one-star review in The Guardian but plenty of praise elsewhere: Yang’s fans are legion, demonstrated by the fact that the London exhibition wasn’t her only museum outing this year. She received a survey show, titled Flat Works, of collages, prints and paintings spanning two decades at the Arts Club of Chicago, and was included in the Lahore Biennale as well as group exhibitions at Secession, Vienna, and MoMA, New York, among others.