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Cho Yong Ik’s ‘19-414’ (2019) in a fleshy, plum hue returns to the themes that fascinated the artist in the 1970s and 1980s: Jumhwa (dot paintings) and wave paintings that are exemplary of the trends that preoccupied Dansaekhwa, or Korean monochrome painting movement, during the early period of Korean modern art. The marks on canvas, at once identical and individual, are motivated by the artist’s interest in meditative acts. New works from Chou Yu-Cheng’s ‘Origami’ series demonstrate the sophistication of the artist’s new painting method, carefully morphing two-dimensional entities into …