Abstract
Minjung art is considered a critical turning point in the history of contemporary Korean art. Ref lecting its significance, this essay delineates a history of studies on minjung art based on common problematics and methods of analysis which many art historians and critics shared since the 2000s. Although this essay focuses on the literature on minjung art after the early 2000s, it also looks into art critiques, exhibitions and art history writings produced during the period of the 1980-90s as they provide basic frameworks and concepts for the discussion of minjung art in the current scholarship semicolon; yet the studies after the 2000s have expanded the earlier discussions to a great extent while bringing new and diverse perspectives on this art movement. While discussing the unfolding of studies on minjung art, this essay also attempts to demonstrate that these studies ultimately are intertwined with the objective of rewriting and reconfiguring contemporary Korean art history. At the same time, this essay emphasizes the importance of writing minjung art in a global perspective, thereby going beyond the national boundary of Korean art.
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