made for and used at protests. The Association of Gwangju Freedom Artists The Association of Gwangju Freedom Artists (Gwangju Jayu Misulin Hyeophoe) demonstrated a concurrent vested interest in creating work reacting to and functioning in particular situations—belying the art historical claim that anti-modernist artistic practice in 1979 laid the necessary groundwork for hyeonjang misul (art of the site). The Gwangju artists favored the term sanghwang (situation) over hyeonsil (reality) when writing their own manifesto--delineating a difference between the two that was reflected in their activities as a group in the aftermath of the Gwangju Uprising. They responded to the specific situation by creating placards and distributing them to activists, and spraying slogans around the city. After the Uprising, and in contrast to Reality and Utterance, the association eschewed a typical indoor art exhibition for kut, a shamanistic ritual of mourning (1980), and outdoor show with over a hundred visitors looking at paintings and performances (1981). The members of the association distanced themselves further from established art institutions by concerning themselves with pedagogy in open schools and public engagement with the arts. Their interest in education, influenced by recently translated texts like Paolo Freire's Pedagogy of the Oppressed, reimagined the artist as facilitators for minjung to produce their own work. The importance of accessibility and deemphasis of the individual artist with reproducibility led them to embrace woodblock printing. Dureong Other elements of minjung art were also present during the time, such as the use of geolgae geurim (banner painting) by the collective Dureong (Levee), and which then spread to other collectives like the Association of Gwangju Freedom Artists. Buddhist painting inspired the composition and collective approach in making banner paintings. Leader of Dureong Kim Bongjun's Painting of All Things Heaven and Earth (1982) evinces Buddhist influences and the language of folklore that were often in play for banner paintings. The repetition of motifs and dissolution of individual authorship, and emphasis on the site of the banner in constructing its meaning, all evince an interest in the specificity of place and adaptability that was crucial to later minjung art. Dureong also worked with local communities in lieu of galleries to create woodblock prints, illustrations, cartoons, banner paintings, and murals. Critical Reception and Changing Imperatives Some critics, including Reality and Utterance member Sung Wankyung, accused minjung artists and groups like Dureong of political kitsch and romanticizing folk traditions. This interest in the past