By spearheading the international positioning of a group of Kukje Gallery’s artists, including Ha Chong-Hyun, Lee Ufan and Park Seo-Bo, Lee turned the Dansaekhwa movement into an art historical period that could be digested by foreign audiences. Lee’s approach, which has focused on organising prominent international exhibitions, including collateral shows at the Venice Biennale, made their name – as well as her own. Now that Seoul has become a major node in the art market, Lee, whose gallery was founded in 1982 and represents approximately 50 artists, including Haegue Yang and the newly signed eighty-nine-year-old sculptor Kim Yun Shin (featured in this year’s Venice Biennale), is more ambivalent about how helpful artworld hype can be. ‘I think we should not be “too excited” about the Korean art scene being globally recognized, becoming another art hub in Asia… Both galleries and artists should stay on their toes,’ she warned The Korea Herald. Now a family affair, with Lee’s children involved, Kukje is no doubt in it for the long haul.