stood in contrast to shifting political discourse in the late 1980s marked by the June Democratic Uprising in 1987 when the worker became the locus of political discussions rather than minjung. Minjung Art's Relationship to Minjok Art Minjok art (national art) also used art to directly participate in political actions by way of traditional national art forms in the 1980s. While they are often conflated, Minjok art addressed anti-imperialism from a national perspective, while minjung art held amore broad anti-imperialist, anti-monopoly, and anti-capitalist stance. Minjok and minjung artists, while sharing some common aims, and in some cases could be referred to interchangeably, were fiercely opposed to being read as being the same or similar to one another. Art of the Site and Beyond (late 80s) The 80s saw the rise of political art produced for and used in protests, and thus categorized as hyeonjang misul (art of the site). These artworks, such as Choi Byung Soo's images of Lee Hanyeol, were indispensable tools for activists in galvanizing protestors, and functioning as symbols for the movement. Artist collectives like Ganeunpae (the collective that goes to factories/rural communities) and the Institute of Social Photography, both founded in 1987, focused on workers' rights in banner paintings (Ganeunpae) and photobooks (Institute of Social Photography). Minjung art at the time also utilized mass media (cinema and print) to engage with political issues on a wider scale. Photographic Reproduction and Realism Photography often worked in conjunction with painting and printing to represent and convey the need to fight for democracy. Choi Byung Soo's (b. 1960) 1987 paintings and prints reproducing Reuters News Agency photographer Jung Tae Won's photo of Yonsei University student Lee Hanyeol transformed the image into the symbol of the democracy movement. Choi's painting became the centerpiece of the public mourning procession in July 1987 for those who were killed during the June Democratic Uprising, and was thus visible to more than a million people However its visibility also heightened its vulnerability--the painting was attacked twice, once in 1988 with a teargas bomb, and again in 2004 with a knife. Cinema With the advent of video technology and aid of distribution through the union network, minjung filmmakers sought to critique modern-day Korean society by capturing on film the difficulties the lower strata of Korean society faced. They were able to reach a wide array of audiences for low cost, leading to directors like Kim