the cost of a careful examination of the older generation of artworks themselves, she sees value in considering the complex web of connections between minjung and post-minjung art. Artist Young Min Moon considers collectives like Seongnam Project (1998-9), flyingCity (2001-ongoing), and mixrice as drawing from the history of minjung art, and others like Ipgim (breath) as challenging the legacy of male-dominated minjung art. In addition to Seongnam Project and flying City, Chunghoon Shin considers Choi Jeonghwa (b. 1961) as carrying on the legacy of Reality and Utterance. Historicization Young Min Moon asserts that minjung art is difficult to define, siding with art historian Park Shin Eui in claiming that minjung art is less of "a style; it was more a cultural movement than an art trend." Chunghoon Shin seeks to uncouple minjung art from its association with the minjung movement, arguing that the linkage often belies the diversity of works, ideas, and motives, but also how they shifted over time. Sohl Lee's description of minjung art's complicated relationship to politics offers one reason as to why it may be difficult to offer a straightforward or simplistic narrative for the movement:Born as a visual language of dissent opposing the anticommunist, authoritarian government, minjung art thus assumed, for better or worse, an assertive presence as fierce, symbolic, nationalist, androcentric, and at times as hackneyed and didactic as the dominant power it sought to oppose.For several decades, minjung art had a marginal place in Korean art history due to state intervention shutting down exhibitions, confiscating artworks, and detaining artists, lack of academics interested in the topic, and exclusion of the topic in textbooks. Critiques of minjung art tend to fall into two lines of thought: the art movement was unable to bridge the divide between art and the sociopolitical context at the time, or that the historical obsolescence of minjung art in a rapidly globalizing world obviates the need to study it now. Notable critics who have written about minjung art include Sung Wankyung, Kim Yoonsu, and Won Dongsuk. Exhibitions South Korea The first state-sponsored retrospective of minjung art at the National Museum of Contemporary Art in 1994, titled "The 15 Years of Minjung Art (1980-1994)," included over 400 works by around 300 artists. The show signaled a shift in the Korean government's stance towards minjung art towards official acceptance, which for some signified minjung art's death A number of minjung artists and