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Lee Bul


(born 1964, , ) is a contemporary specializing in , , and , whose works fuse organic and mechanical forms to probe themes of technological utopianism, , and the mutable human body.
She received a BFA in from in in 1987 and rose to prominence in the late with her series (1997–2011), featuring silicone-based, anatomically fragmented female figures that evoke both allure and unease, drawing from influences like Japanese anime and traditions.
Bul's , such as the crystalline architectural structures in her Mon grand récit series, further explore fractured ideals of progress and perfection, earning her international acclaim through solo exhibitions at institutions including the Guggenheim Museum and commissions from the .
Among her accolades are an honorable mention at the 1999 , the 2019 Ho-Am Prize, and the 2023 Ruth Baumgarte Art Prize, recognizing her contributions to contemporary art's engagement with post-humanist concerns.

Early Life and Background

Childhood in South Korea

Lee Bul was born in 1964 in , , during the early years of Park Chung-hee's , which had seized power via coup in and imposed authoritarian control characterized by suppression of dissent and economic . Her parents were leftist dissidents actively opposing the regime's policies, including its anti-communist purges and restrictions on , which marginalized political opponents and limited their professional prospects. As a result, the family experienced instability, frequently relocating within rural and military-adjacent areas to evade , with her early surroundings marked by the dust and transience of a politically hostile . This upbringing occurred amid South Korea's compressed modernization drive under , involving forced rural-to-urban migrations, heavy industry expansion, and cultural censorship enforced through institutions like the Korean Central Intelligence Agency (KCIA), founded in 1961 to monitor and neutralize opposition. The regime's Yusin Constitution of 1972 further entrenched one-man rule, amplifying familial risks for dissidents like Bul's parents, who faced social ostracism and surveillance. Bul's childhood thus unfolded in a context of enforced ideological conformity, where public protests—such as the 1960 April Revolution's aftermath and sporadic labor unrest—were met with violent crackdowns, contributing to a pervasive atmosphere of caution and upheaval. Historical records indicate that by the mid-1970s, thousands of suspected leftists had been detained or exiled, underscoring the precariousness of families like hers. The dictatorship's emphasis on over individual freedoms extended to everyday life, with media blackouts and educational shaping public discourse, while economic policies propelled GDP growth from approximately $2.3 billion in 1962 to $65 billion by 1979, often at the cost of worker exploitation and . For Bul, this era's causal tensions—between state-orchestrated progress and repressed —formed the backdrop of her formative environment, distinct from the democratic shifts that followed Park's assassination in 1979.

Family Influences and Socio-Political Context

Lee Bul was born on January 20, 1964, in , , to parents who opposed the as left-wing political dissidents. Their against the resulted in professional blacklisting, confining them to producing and selling handmade goods, such as inkstones and ware, from the family kitchen to support the household. This precarious existence under surveillance cultivated in Bul a foundational aversion to enforced uniformity, as her parents' persistent resistance modeled individual defiance amid systemic coercion. South Korea's socio-political landscape in the 1970s and 1980s, dominated by Park Chung-hee's Yusin regime (1972–1979) and its successor under (1980–1988), imposed authoritarian controls that stifled artistic freedom and feminist discourse. Park's government enacted the 1974 Emergency Decree, censoring , , and for perceived threats to national security, with over 1,000 cultural works banned or seized by 1975 alone. Concurrently, entrenched Confucian hierarchies perpetuated conservative norms, marginalizing women through legal barriers like the 1962 that subordinated female autonomy to patriarchal authority, while feminist activism faced imprisonment or exile. Chun's era extended this repression, exemplified by the 1980 crackdown that killed hundreds protesting military rule, further entrenching state dominance over public expression. The interplay of familial dissidence and national forged causal pathways in Bul's , wherein regime-enforced collectivism—prioritizing economic mobilization over personal —clashed with the her parents embodied, priming her enduring scrutiny of hierarchical power dynamics without reliance on ideologies. This underscores how dictatorships, by punishing nonconformity, inadvertently nurture oppositional thought in affected households, as evidenced by the era's documented surge in underground networks.

Education and Formative Years

Academic Training

Lee Bul obtained a (BFA) degree in from in in 1987. , a prominent institution for fine arts in , offered a centered on technical skills in sculptural , including modeling, , and material manipulation, which formed the basis of her early training. During her studies, Bul encountered a structured academic environment that emphasized formal sculptural practices but which she later described as limiting for experimental approaches, prompting her initial explorations beyond traditional . No records indicate additional formal degrees or advanced certifications following her undergraduate completion.

Initial Artistic Experiments

Lee Bul commenced her initial artistic experiments shortly after graduating from Hongik University's Department of Sculpture in 1987, transitioning from studio-based sculptural training to exploratory works incorporating soft, malleable forms. These pre-professional endeavors emphasized hands-on manipulation of everyday materials, reflecting a departure from rigid media toward pliable constructs that hinted at bodily integration. From 1987 to 1991, Bul collaborated with , an experimental collective of formed to counter the marginalization of female voices within South Korea's predominantly male art establishment during the late . Through group exhibitions, she tested nascent ideas in shared spaces, prioritizing collective feedback over polished outputs and addressing practical limitations in exhibition access for emerging practitioners. This period aligned with South Korea's democratization process, initiated by the June 1987 uprising and culminating in the nation's first direct presidential election that December, which fostered a of cultural experimentation amid easing . In 1988, Bul mounted her solo exhibition Cravings, utilizing fabric, fiberfill, and sequins to fabricate soft sculptures that explored form through tactile improvisation, demonstrating an early technical shift toward lightweight, synthetic assemblies suited to constrained studio resources. These unpublished or low-profile works underscored iterative material trials, with Bul adapting affordable textiles to prototype structures, unburdened by imperatives yet indicative of her evolving sculptural vocabulary. By the late , such experiments laid groundwork for broader integrations, though they remained rooted in personal and communal critique rather than public spectacle.

Artistic Evolution

Performance Art Beginnings

Lee Bul transitioned to in the late 1980s, amid South Korea's following the June 1987 uprising that ended , which facilitated bolder public expressions challenging societal taboos. Her early performances often involved her body directly, using endurance, , and props to interrogate constraints and bodily control in a conservative context where such acts provoked immediate controversy. In her debut solo exhibition in 1988, Bul presented Cravings (1988–1989), an improvised incorporating erratic movements, vocalizations, and fabric elements to evoke primal urges and rejection of polished , drawing mixed responses in Seoul's nascent scene. This work marked her initial foray into live bodily experimentation, aligning with underground artist collectives amid post-dictatorship cultural liberalization. Abortion (1989), staged at the 1st Korea-Japan Performance Festival in Seoul's Dongsoong Art Center on October 1989, exemplified Bul's confrontational approach: she suspended herself nude and inverted from the theater rafters, bound by ropes and a , enduring for nearly two hours to symbolize the physical and legal of the procedure, which remained criminalized under South Korea's patriarchal laws. The piece faced backlash for its explicit challenge to bodily autonomy restrictions, with reports of audience shock and institutional discomfort reflecting the era's lingering conservative sensitivities despite political thaw. Bul extended this intensity in Sorry for Suffering—You think I'm a puppy on a picnic? (1990), a 12-day performance in where she inhabited a fabric costume, incorporating elements of and animalistic gestures to critique gendered expectations of docility and suffering. Local reactions highlighted the work's disruption of norms, with viewers confronting the artist's voluntary subjugation as a for women's societal roles, though documentation notes varied interpretations amid international exposure. These performances established Bul's reputation for visceral provocation, eliciting both acclaim for feminist audacity and criticism for extremity in Korea's transitioning art discourse.

Shift to Sculpture and Installations

In the mid-1990s, Lee Bul transitioned from the ephemerality of to and works, emphasizing object-based forms that could endure beyond singular events. This pivot was influenced by practical setbacks, including the flooding of her studio, which destroyed costumes essential to her live pieces and prompted a reevaluation toward more stable media. By adopting durable materials and fabrication techniques, she addressed the limitations of performance's transience, enabling repeatable exhibitions and preservation of conceptual intent through physical artifacts. A hallmark of this shift appeared in works like Majestic Splendor (1997), where organic elements such as were integrated with synthetic components including sequins, , and mylar bags, creating installations that juxtaposed decay and artifice in a controlled, gallery-ready format. Technical innovations included the use of for simulating lifelike textures and for structural integrity, allowing constructs that merged biological and mechanical motifs while prioritizing longevity over impermanence. This evolution facilitated broader institutional engagement, as evidenced by her selection to represent at the 1999 with installation-based projects, which underscored the adaptability of her new practice to international curatorial demands. The move to such forms also reflected pragmatic adaptations to the art market's preference for collectible objects, contrasting the documentation-dependent nature of earlier performances.

Key Works and Series

Early Performances

Lee Bul's first documented performance, Cravings, took place in Jangheung in 1988, followed by another iteration at the National Museum of Contemporary Art in . In these events, Bul wore a custom costume resembling abstract, tentacular forms, which has been reconstructed as Untitled (Cravings White) for later exhibitions. In October 1989, Bul presented Abortion at the 1st Korea-Japan Performance Festival in the Lobby Theater of Dongsoong Art Center, Seoul. For nearly two hours, she suspended her naked body upside down from the rafters, bound by ropes attached to a corset, in a staged act that drew on the era's legal prohibition of abortion in South Korea. Documentation includes performance photographs capturing the suspension. Bul's 1990 performance Sorry for Suffering—You Think I'm a Puppy on a Picnic? spanned 12 consecutive days, beginning at Gimpo Airport in and continuing at Narita Airport and sites in downtown , including the and district. She appeared in public wearing a large, flapping costume evoking monstrous limbs, provoking reactions from onlookers amid Japan's urban settings. Stills from video recordings preserve aspects of the guerrilla-style action. These works occurred in a conservative South Korean context where provocative bodily performances often encountered social backlash and institutional restrictions, including of ideological content under prior authoritarian regimes.

Cyborg and Monument Series

Lee Bul's Cyborg series, begun in 1997 and extending through 2011, consists of sculptures portraying anatomically ambiguous of and machine elements, often emphasizing sexualized female forms fused with mechanical prosthetics. These works draw on visual inspirations from idealized depictions of the female body in , using materials like and to highlight the tension between organic vulnerability and technological enhancement. The series critiques techno-utopian visions of post-human perfectibility by exposing the undercurrents of such ideals, where hybrid forms evoke both allure and repulsion toward bodily augmentation. For instance, pieces like Untitled (Cyborg W4) (1998) feature fragmented, prosthetic-laden torsos that interrogate cultural attitudes toward technology's intrusion into , rejecting seamless integration in favor of dissonant, imperfect mergers. The related Anagram series, emerging as an evolution in the late , expands these hybrids into more abstracted, multi-tendrilled morphologies blending insect, vegetal, and marine elements with mechanical components, termed "anagrammatic morphologies" by the artist. Fabricated from , , and , these suspended or sprawling forms dramatize the complicity of organic and inorganic matter, challenging distinctions between , animal, and while underscoring sci-fi-inspired in their tangible, imperfect executions. Through these, Bul probes post-human anxieties, portraying enhancement not as but as a site of instability and cultural repression. Shifting toward monumental scale in the , Bul's series, exemplified by the ongoing Mon grand récit (2005–), comprises immersive installations, sculptures, and maquettes that reconstruct fragments of utopian architecture—such as Le Corbusier-inspired elements—alongside personal and historical relics to confront failed modernist dreams. These works address public memory by layering crystalline structures with kinetic lights and reflective surfaces, evoking the ruins of ambitious ideologies amid South Korea's rapid post-war industrialization. A key piece, Mon grand récit: Weep into Stones... (2005), integrates table-like assemblages of architectural models and organic motifs, symbolizing the collapse of grand narratives into fragmented, hybrid remnants that question architectural permanence and societal progress. Evolutions within these series incorporate and , as seen in Live Forever (2002), a multimedia installation featuring three pod-like structures resembling futuristic vehicles equipped with LED screens and synchronized videos, blending personal narratives of with technological spectacle to extend themes into interactive, ephemeral experiences. Similarly, early iterations of the Perdu series ( 2000s) employ biomorphic forms with subtle mechanical movements and illuminations, further hybridizing monumentality with transient, light-infused dynamics to underscore dystopian undercurrents in utopian aspirations.

Later Installations and Commissions

In the , Lee Bul produced large-scale sculptural commissions emphasizing hybrid forms that merge organic and synthetic elements, drawing on historical and contemporary . A prominent example is the 2024 Facade Commission at the , titled Long Tail Halo, featuring four new tessellated sculptures installed in the niches of the facade from September 12, 2024, to June 10, 2025. These works, described as Cubist-inspired figures evoking synthetic angels, explore the fractured through fragmented, forward- and backward-looking motifs, marking Bul's first major U.S. project in two decades. Bul's integration of advanced materials in these commissions reflects tangible technological applications, such as stainless steel and precise fabrication techniques, extending her earlier experiments with mechanics and lighting into more static yet monumental forms. Earlier in the decade, studies like Study for Light Tower (2019) incorporated LED lights, electrical wiring, and acrylic within stainless steel structures, demonstrating practical deployment of illumination and control systems in sculptural contexts. The Perdu series, ongoing from the late 2010s into 2025, complements these efforts with mixed-media works on panel—using mother-of-pearl, acrylic paint, and stainless-steel frames—that blur biomorphic and cybernetic boundaries, as seen in pieces like Perdu CCIX (2025). In 2025, Bul's representation by facilitated presentations of recent and recontextualized works, including the sculpture Untitled (Anagram Leather #11 T.O.T.) (2003/2018) alongside new Perdu pieces, signaling expanded opportunities for commissions. These developments coincided with the touring survey Lee Bul: From 1998 to Now at Leeum Museum of Art in (September 4, 2025–January 4, 2026), which highlighted approximately 150 works, including later installations underscoring her evolution toward technologically informed monumentality.

Themes and Conceptual Framework

Technological Hybridity and Post-Humanism

Lee Bul's exploration of technological hybridity centers on the fusion of biological and mechanical elements, envisioning entities that blur the distinctions between human and machine amid South Korea's rapid industrialization and technological ascent in the late . During the , the country shifted toward high-technology sectors, with R&D intensity increasing from 2.24% of GDP in 1996 as part of government-led initiatives like the Growth-Oriented Government-Funded R&D Program (1992–2001), which allocated over $7 billion (in 2023 dollars) to foster innovation in , semiconductors, and emerging fields. Bul's hybrid forms, inspired by science fiction motifs in and , project speculative post-human configurations that respond to this context, yet they often amplify the potential for unhindered augmentation, diverging from the incremental realities of contemporaneous advancements in and , whose foundational research in Korea began in the late with focus on language processing and . In post-humanist terms, Bul's work interrogates the transcendence of corporeal limits through cybernetic integration, paralleling real-world developments in prosthetics and human-machine interfaces that gained traction during Korea's tech expansion, including early prototypes in the 2000s. These themes critique the encroaching dominance of machinery in society while positing hybridity as a pathway to enhanced existence, though artistic renderings frequently sidestep the causal constraints imposed by —such as immune responses, neural mismatch, and proprioceptive deficits—that hinder seamless mergers. Empirical studies on lower-limb prosthetics, for instance, highlight persistent issues with socket , including pressure distribution and friction-induced damage, which limit functionality to assistive rather than transformative levels. Causal analysis reveals that Bul's idealized hybrids overlook innate physiological hierarchies, where verifiable prioritize organic efficiency over synthetic overrides; for example, prosthetic embodiment research demonstrates only partial and ownership due to incomplete sensory remapping and , underscoring the of bounded rather than utopian dissolution of limits. This artistic emphasis on speculative fluidity, while provocative, contrasts with the empirical trajectory of human-machine interfaces, which remain tethered to biological imperatives like tissue viability and neural plasticity thresholds, as evidenced in ongoing efforts to optimize residual limb connections without achieving full corporeal transcendence. Such depictions, though influential in , invite scrutiny for extending beyond technological feasibility, favoring aesthetic provocation over the grounded of .

Gender Dynamics and Bodily Autonomy

Lee Bul's early performances in the , conducted amid South Korea's post-dictatorship transition, explicitly challenged patriarchal constraints on the body, including those rooted in Confucian-influenced hierarchies that prescribed women's roles within and . Pieces involving ritualistic , , and public of the body—such as self-mutilation simulations or processional walks—sought to dismantle taboos around female corporeality and assert individual agency against state and cultural controls. These interventions coincided with, but contrasted against, measurable economic strides enhancing female autonomy in ; the female labor force participation rate climbed from approximately 50% in the early —building on late-1980s industrialization gains—to 56% by , driven by expanded access and market opportunities rather than solely cultural critique. This empirical progress underscores how structural reforms, including post-1987 and export-led growth, elevated women's economic independence independently of performative shocks. In her Cyborg series, beginning with Cyborg W1-4 in 1998, Bul shifted to sculptural hybrids merging female forms with prosthetic machinery, portraying augmentation as a means to transcend biological limits and societal impositions on —drawing visual cues from Japanese and Western idealizations of the body. These works positioned the as an emblem of self-directed transformation, probing the intersections of , , and corporeal without essentializing natural forms. This progression from raw 1980s confrontations to refined installations reflected a maturing on bodily , favoring hybrid potentials over oppositions of oppressor and oppressed, though such deconstructions invite scrutiny for potentially eroding innate human dimorphism and complementary roles observed in cross-cultural data on .

Utopian-Dystopian Narratives in Historical Context

Lee Bul's utopian-dystopian narratives are anchored in South Korea's experience of authoritarian-driven modernization, where military dictatorships from 1961 to 1988 prioritized export-led industrialization over democratic freedoms, fostering economic expansion but sowing seeds of social fracture and ideological disillusionment. Chung-hee's , seizing power via coup in 1961, implemented five-year plans that shifted the economy from agriculture to , achieving annual GDP growth rates of 8-10% through the and , yet enforced this via repressive measures including the 1972 Yushin Constitution, which suspended and enabled indefinite rule, suppressing unions and protests to maintain labor discipline for growth. This causal chain—state coercion enabling short-term booms but stifling adaptability—manifests in Bul's motifs of fractured utopias, where architectural and technological forms collapse, reflecting not abstract idealism but the tangible ruins of enforced progress. Rapid under these regimes amplified dystopian undercurrents, as rural-to-urban surged, with Seoul's quadrupling from about 2.5 million in 1960 to 10.6 million by 1990, straining resources and spawning informal settlements, from factory emissions, and widening despite per capita income rises from $79 in 1960 to $6,500 by 1990. These empirical costs of developmentalist ideology—prioritizing quantity over quality of growth—undermine narratives of unalloyed triumph, as state-orchestrated megaprojects like new towns echoed modernist architectural visions (influenced by figures such as ) that promised efficiency but delivered alienation and ecological strain, themes Bul channels through decaying urban structures symbolizing ideological overreach. The further exposed these fault lines, as accumulated foreign debt exceeding $150 billion and vulnerabilities—nurtured under prior authoritarian favoritism—triggered a 6.9% GDP contraction, mass peaking at 7%, and a $58 billion IMF bailout that imposed austerity, evoking public outrage akin to dictatorship-era grievances and termed domestically the "IMF crisis" for its humiliating foreign oversight. Bul's works, emerging amid this pivot to fragile , critique tech-infused optimism by drawing on such historical precedents, where state-directed risks dystopian entrapment rather than liberation, as seen in the hybrid monstrosities born from unnatural fusions paralleling Korea's coerced socioeconomic engineering. This approach privileges causal realism over romanticized progress tales, highlighting how unchecked developmental zeal, from dictatorship's heavy hand to crisis-induced reckoning, yields not utopias but precarious, mutated legacies.

Reception and Analysis

International Acclaim and Achievements

Lee Bul participated in the 48th in 1999, contributing to both the Korean Pavilion and the international in the Arsenale, for which she received a special prize. She returned to in 2019, featuring in the main curated by Ralph Rugoff. These appearances marked early and sustained engagements with one of the world's premier platforms for . In 2018, the in presented "Lee Bul: Crashing," a comprehensive solo exhibition spanning over 100 works from the late onward, including new sculptures, silk paintings, and site-specific installations that explored hybrid forms and architectural interventions. The show underscored her global reach, drawing on her investigation of the body in relation to space. More recently, in September 2024, she received a facade commission from , installing the series Long Tail Halo—four new hybrid sculptures—in the niches of the Fifth Avenue building, on view through June 10, 2025. Lee Bul's market viability is evidenced by auction performance, with her record sale reaching $165,100 for Sternbau No. 8 at in 2024. Her works entered prominent institutional collections, including the , which holds pieces such as Against Oblivion. In March 2025, she joined for global representation, partnering with Seoul's BB&M Gallery, signaling expanded commercial infrastructure.

Critical Perspectives and Debates

Lee Bul's exploration of post-human themes through imagery has elicited debates on whether such representations romanticize technological augmentation at the expense of human limitations and ethical boundaries. While some scholars praise her works for interrogating the dual potentials of and in hybrid forms, others argue that the aesthetic emphasis on detaches from empirical realities of technological failures and bio-ethical risks, such as irreversible bodily alterations without regard for causal consequences like health complications or loss of biological integrity. Feminist interpretations of Bul's oeuvre often frame her cyborg series as a of objectifying tropes, positioning fragmented female-machine hybrids as subversive challenges to patriarchal constraints on bodily . However, conservative voices in have contested this, viewing her early performances—such as the 1990 piece, where the artist suspended her contorted naked body amid ropes—as erosive to traditional roles and familial norms, prompting outright with video recordings banned domestically for their explicit disruption of cultural taboos on the female form. This backlash underscores broader tensions in society, where Bul's provocative bodily interventions clashed with lingering Confucian values prioritizing social harmony over individualist expressions of gender dissent. Critics have further debated the socio-political implications of Bul's utopian-dystopian narratives, with some accusing her speculative installations of overemphasizing aesthetic disruption while underplaying grounded critiques of modernization's human costs, as seen in her reflections on South Korea's rapid industrialization. In contexts of conservative bio-ethics, her monstrous hybrids raise unaddressed questions about cultural disruption, potentially normalizing transhumanist ideals that prioritize hybrid novelty over preservations of innate human dignity and societal stability. These perspectives, though less amplified in Western art discourse, highlight empirical shortcomings in her , such as the reliance on visual provocation absent rigorous engagement with real-world technological pitfalls like systemic failures in cybernetic integrations.

Awards and Recognition

Major Honors and Prizes

In 2016, Lee Bul was appointed Officier in the Ordre des Arts et des Lettres by the French Ministry of Culture and Communication, recognizing her international impact on contemporary sculpture and . She received the Ho-Am Prize in the Arts in 2019 from the Ho-Am Foundation, an award established in 1990 to honor individuals of Korean heritage for cultural contributions, carrying a prize of 300 million (approximately $263,300 at the time). In 2022, the School of the Art Institute of Chicago conferred an honorary doctorate upon Lee Bul during its commencement ceremonies, alongside recipients George E. Lewis and Angelique Power, acknowledging her innovative multimedia practice. Lee Bul was named the laureate of the 9th Ruth Baumgarte Art Prize in 2023, with the award presentation held on March 26, 2024, at the in ; this annual prize from the Kunststiftung Ruth Baumgarte supports representational artists advancing figurative traditions in global contexts.

Exhibitions and Public Installations

Solo Exhibitions

Lee Bul's solo exhibitions initially took place in during the late 1980s and early 1990s, coinciding with her emergence as a sculptor influenced by and practices. These early presentations, often at galleries in , marked her exploration of forms before gaining broader attention through international venues in the mid-1990s onward. A pivotal large-scale solo show occurred at the Mori Art Museum in Tokyo from February 4 to May 27, 2012, titled From Me, Belongs to You Only, which surveyed her evolving practice including cyborg series and architectural models, organized in association with Korean cultural entities. In 2015, Aubade III at Palais de Tokyo in Paris, running from October 21, 2015, to January 10, 2016, featured a site-specific metal installation drawing on early 20th-century utopian architecture, presented as part of Korea-France cultural exchanges. The 2018 exhibition Crashing at in , held from June 1 to August 19, encompassed over 100 works spanning the late to new commissions, including site-specific sculptures and silk paintings, highlighting her thematic range in a comprehensive mid-career survey. In 2021, Beginning at Seoul Museum of Art focused on her formative decade from 1987 to the late 1990s, displaying early "soft sculptures" and performances amid Korea's cultural shifts. Subsequent solos included presentations at , , in 2023—her first in the region—and Sara Hildén Art Museum in , , also in 2023, both emphasizing her investigations into and . The most extensive to date, From 1998 to Now, opened at Leeum Museum of Art in on September 4, 2025, featuring approximately 150 works co-curated with M+ in , tracing her post-1990s developments from cyborgs to immersive installations.

Notable Group Shows and Commissions

Lee Bul participated in the 48th in 1999, representing with installations that earned her a Menzione d'Onore (honorable mention) from the Foundation. Her works there, including biomechanical sculptures, drew attention for blending organic and mechanical forms in response to curatorial themes of and . She exhibited again at the 58th in 2019, featured in the international main exhibition "May You Live in Interesting Times" curated by Ralph Rugoff, where her large-scale installation Cyborg W5 (2012/2019) explored post-human themes amid global political tensions symbolized by her DMZ-inspired monument. In September 2024, the commissioned Lee Bul for its fifth annual Facade Commission, installing the series Long Tail Halo—four tessellated humanoid and canine sculptures constructed from EVA foam or sheets over steel armatures—in the building's niches. The site-specific works, on view through June 10, 2025, integrate with the to evoke hybrid guardians, marking her first major U.S. public project in two decades and sponsored by as part of ongoing contemporary interventions.

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