Leap Year, the retrospective the Seoul- and Berlin-based artist staged last year at the Hayward Gallery in London, travelled to Kunsthal Rotterdam in March and then Migros Museum für Gegenwartskunst, Zürich, in September. Yang, however, was already on to her next thing, indicative of the restlessness of an artist whose work encompasses uneasy anthropomorphic sculpture that mines both folk cultures and mass-produced consumables, essayistic video, photography and text. Lost Lands and Sunken Fields opened at Nasher Sculpture Center, Dallas, in February, featuring five series of work, not least her new Mignon Votives (2025), small altars made from pinecones and cairns of synthetic stone. Emerging from the institution’s outdoor fountain was the monstrous black plastic twine work The Intermediate – Six-Legged Carbonous Epiphyte Imoogi (2025). With a gallery show at Kurimanzutto, Mexico City, and a popup in her former studio in Seoul, too, it’s a wonder Yang decided she has time to chair Kunst-Werke Berlin, the institution responsible for the KW Institute and the Berlin Biennale, a four-year tenure she took up in September.