whether she truly was unfaithful; her diary shows that up to her late 30s she tried hard to remain loyal to traditional Korean marital and maternal roles in spite of the many humiliations and frustrations of her unhappy marriage. In any case, she came to be thought of and stigmatized as a woman who used her artistic pretensions as an excuse for sexual abandon. In 1931 Na sued Choi in a French court for "defamation of a woman's reputation" after he published a salacious article recounting their affair. Despite the divorce and disgraceful reputation, Na Hyeseok continued painting and won a special prize at the 10th Joseon Art Exhibition in 1931. She also published a piece called A Divorce Testimony in the magazine Samcheolli in 1934, raising issues with gender inequality endorsed by Korean morality and tradition. She challenged the patriarchal social system and male-oriented mentality of Korean society at the time. In A Divorce Testimony, Na criticized the repression of female sexuality; stated that her ex-husband had been unable to satisfy her sexually and refused to discuss the issue; and finally she advocated "test marriages" where a couple would live together before marrying to avoid a repeat of her unhappy marriage. It was A Divorce Testimony that ultimately ruined Na's career, as her views were regarded as scandalous and shocking, since traditional Korean Confucian culture considered premarital sex to be taboo and women were not to speak frankly of their sexuality. Unable to sell her paintings, essays, or stories, Na Hyeseok was reduced to destitution and spent her last years living on the charity of Buddhist monasteries. One consequence of this neglect has been that it is difficult today to verify what paintings are hers — although Na Hyeseok is now regarded as one of Korea's greatest painters, with her works selling for millions of won — and a number of fakes have appeared on the market. She died on December 10, 1948 at a charity hospital. Having had no one to care for her in the later days, the location of her grave is still unknown. Her fate was often used to scold young Korean women who had literary or artistic ambitions; "Do you want to become another Na Hye-sok?" was a frequent reprimand to daughters and younger sisters. However, she has recently been acknowledged in Korea for her artistic and literary accomplishments. For example, Seoul Arts Center