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The most reliable way to locate Kim Yun Shin’s sculptures is to search institutional collection databases under both “Kim Yun Shin” and “Kim Yunshin”, then verify each object in its own record. Record the title, year, material, dimensions, collection number and display status. For exhibition history, use the artist chronology at Kukje Gallery as a lead and confirm details in the archive of the museum that hosted the show. A museum holding does not prove that a sculpture is currently on view, and an exhibition chronology is not a complete worldwide inventory.
Start with both name spellings
Institutional websites do not always index the artist’s name in the same way. Run separate searches for Kim Yun Shin and Kim Yunshin, rather than assuming one spelling will retrieve every record. The two forms appear in official resources including the Kukje Gallery artist profile and the National Museum of Modern and Contemporary Art (MMCA) collection record.
Use the museum’s own search box first. A general web search can help find a database, but the object page is where the authoritative title, date, material, measurements, accession number and status are normally recorded. Save the URL of each object page, because search-result snippets can omit fields or change as databases are updated.
How to verify an individual sculpture
Capture the fields that identify the object
When a result appears, do not stop at the artist name. Copy the following fields into your notes:
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- Institution and branch or venue
- Artist name as the institution displays it
- Exact title, including any subtitle or parenthetical number
- Year of completion
- Material or medium
- Dimensions, preserving the unit shown on the page
- Accession, collection or work number
- Acquisition information, such as a donation
- Display status and the gallery or building named by the institution
- Record date or update information, when supplied
These details distinguish works with similar titles and prevent an object record from being mistaken for an exhibition listing. If a page does not provide a field, describe it as “not stated” rather than filling it in from another source.
MMCA example: a work listed on view
MMCA’s record identifies Add Two Add One Divide Two Divide One as a 1988 granite sculpture by Kim Yunshin. It gives collection number 02699, dimensions of 36.5 × 65 × 45.5 as displayed in the record, and says the work entered the collection by donation. The page lists it as on view in Gallery 3 at Gwacheon. Consult the complete record at mmca.go.kr before relying on any of those details for a visit.
“On view” is a status attached to that record, not a permanent guarantee. Galleries can rotate works, close for installation or move objects between buildings. Check the page again and confirm with the museum if the trip depends on seeing this sculpture.
SeMA example: a work held but not displayed
The Seoul Museum of Art (SeMA) record describes Add Two Add One Divide Two Divide One (1989-210) as a 1989 onyx sculpture measuring 61 × 62 × 32 cm. Its collection number is 2023-0244, and the page states that it is not on display. The record is at sema.seoul.go.kr.
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Use a comparison table for near matches
| Institution | Title | Year | Material | Dimensions | Collection number | Acquisition or status |
|---|---|---|---|---|---|---|
| MMCA | Add Two Add One Divide Two Divide One | 1988 | Granite | 36.5 × 65 × 45.5 (unit as shown in record) | 02699 | Donation; listed on view in Gallery 3, Gwacheon |
| SeMA | Add Two Add One Divide Two Divide One (1989-210) | 1989 | Onyx | 61 × 62 × 32 cm | 2023-0244 | Not on display |
The table illustrates why title-only searches are unsafe. A title may recur, while the combination of date, stone, dimensions and institutional number points to a specific object.
Find exhibition records, not just collection holdings
Use the Kukje Gallery chronology as a discovery list
The Kukje Gallery artist profile provides a chronology of solo and group exhibitions and identifies selected public and private collections. It includes the 2023 exhibition Kim Yunshin: Towards Oneness at Nam-Seoul Museum of Art and a 2026 chronology entry for Two Be One at Hoam Museum of Art.
The profile is a useful map, but it is not a complete inventory of every exhibition or every institution that owns a sculpture. Its collections section is explicitly labeled “Selected Public and Private Collections.” Treat each item as a lead and follow it to the hosting museum’s own page. The 2026 entry is a dated chronology listing; the available evidence does not establish that it is open on a particular day. Confirm dates, admission rules and access directly with Hoam Museum of Art before planning travel.
Confirm a historical show in the host museum’s archive
SeMA’s archive for Kim Yunshin: Towards Oneness records the 2023 presentation at Nam-Seoul Museum of Art. The page says the exhibition included more than 70 works, with sculpture in wood and stone as well as lithographic works. It also preserves supporting material such as photographs and exhibition brochures. Read the archived page at sema.seoul.go.kr.
Because this is an archive of a past exhibition, its admission information and opening hours belong to that 2023 run. They are not current visitor instructions. Use the archive to establish what was presented and how the museum documented it; use the museum’s current visitor page for today’s hours, closures and ticketing.
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Look for archives that add artistic context
The Lee Ungno Museum’s archived exhibition Kim Yunshin: Letter from Argentina places the artist’s work in relation to her time in Paris and her exchange with Lee Ungno. The museum describes painting and sculpture as complementary genres and notes experimentation across two and three dimensions. Its archive is available at leeungnomuseum.or.kr.
This kind of exhibition page may not identify a currently visitable object, but it can explain why a museum groups sculptures, paintings or prints together and can supply dates, photographs and brochure references that a bare collection record lacks.
Interpret materials without using them as the sole identifier
SeMA’s exhibition archive discusses Kim Yunshin’s work in wood and stone alongside lithography. The Korean Art Market and Artist Database (KADA) gives broader production context: major bodies of work in wood in Argentina, onyx in Mexico from 1988 to 1991, and semi-precious stone in Brazil from 2000 to 2002. See the artist archive at k-artmarket.kr.
Material can narrow a search, but it cannot identify a sculpture by itself. An onyx work may share a title with a granite work, and a production period does not replace an accession number. Use material together with title, year, dimensions and institution. If a museum’s wording differs from a database’s category, quote the museum’s wording and note the discrepancy rather than normalizing it.
A repeatable search workflow
- List both names. Write “Kim Yun Shin” and “Kim Yunshin” at the top of your search notes. Add quotation marks when a site supports exact-phrase searching.
- Search one institutional database at a time. Start with national and city museums, then search the venue names appearing in the artist chronology.
- Open every plausible object record. Confirm that the maker field identifies Kim Yun Shin or Kim Yunshin, rather than relying on a thumbnail or external summary.
- Transcribe the identifying fields. Capture title, year, material, dimensions, collection number, acquisition note and display status exactly as shown.
- Separate works from exhibitions. A page with an accession number normally describes an object; a page with dates, venue information and a checklist describes an exhibition. Keep the two links in separate columns in your notes.
- Check near matches. Compare title, year, material, dimensions and number before treating two records as duplicates or the same work.
- Trace chronology entries to the venue. Use Kukje Gallery’s list to locate a show, then search the host museum’s archive for the exhibition title, dates and checklist.
- Recheck live status before travel. Confirm whether the specific object is on view, which branch holds it, and whether the building is open. A historical archive cannot answer those current-access questions.
- Record the retrieval date. Display labels, opening dates and online fields can change. A dated note tells you when your status check was made.
How to read the different kinds of evidence
| Record type | What it can establish | What it cannot establish by itself |
|---|---|---|
| Object or collection record | That an institution catalogs a specific work, with identifiers such as title, year, material and collection number | That the work is currently installed, accessible to all visitors or in the building you expect |
| Display-status field | The museum’s stated on-view or off-view status at the time of the record | That the status will remain unchanged through your travel date |
| Exhibition archive | That a named show took place, its venue and the media or works described by the archive | That the show is still open, or that every work in the artist’s career appeared in it |
| Gallery chronology | Dates, titles and a selection of solo/group exhibitions and collections supplied by the gallery | A complete worldwide holdings list or current admission information for a museum |
| Artist or market archive | Production context, locations and broad material groupings | The accession identity or present location of an individual sculpture |
Common search failures and their fixes
Only one romanization is searched
Symptom: A museum search returns no results, while another site clearly lists the artist. Fix: Repeat the search with the spaced form “Kim Yun Shin” and the closed form “Kim Yunshin.” Also try each form in the site’s artist field rather than in a general keyword field.
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A similar title is treated as the same object
Symptom: Two pages both show Add Two Add One Divide Two Divide One. Fix: Compare year, material, dimensions and collection number. The MMCA granite work from 1988 (02699) and SeMA’s 1989 onyx work (2023-0244) are documented as separate records.
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A collection record is presented as proof of display
Symptom: A visitor assumes that ownership means the sculpture will be visible. Fix: Read the display-status field on the object page. MMCA’s example is listed on view, while SeMA’s example is marked not on display. Recheck the status and venue before departure.
A past exhibition page is used as a current schedule
Symptom: Archived hours or admission information are copied into a present-day itinerary. Fix: Use the archive for historical confirmation and the museum’s current visitor information for opening dates, hours, tickets and closures.
A selected-collections list is called exhaustive
Symptom: A gallery profile is treated as a complete list of museums worldwide. Fix: Describe it as a selected list and verify each institution in its own catalog. The available institutional records do not establish a complete global inventory.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.What a careful citation should contain
For an article, documentary caption or research note, cite the object page rather than only the institution’s home page. Include the artist’s displayed name, title, year, material, dimensions, collection number and the status wording. For an exhibition, include the exhibition title, host venue, year or date range, archive URL and the archive’s description of the media or number of works.
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Keep the distinction visible in your wording. “MMCA catalogs the 1988 granite sculpture under collection number 02699 and lists it on view in Gallery 3 at Gwacheon” reports an object record and its stated status. “SeMA’s 2023 archive describes an exhibition of more than 70 works” reports an exhibition archive. Neither sentence claims more than its source establishes.
Planning a museum visit
Before you leave
- Open the exact object record, not just the search-results page.
- Check whether the display status names a gallery, branch or building.
- Look for closure, installation or loan notices on the museum’s current visitor page.
- Save an offline copy or note of the title and collection number in case on-site staff need to locate the work.
- For a historical exhibition, verify that the page is an archive and do not assume the show is still running.
When records conflict
Prefer the institution that owns or hosted the work for object-level and exhibition-level facts. Preserve both records when they describe different objects, as the MMCA and SeMA examples do. If a title, date or material conflicts within the same institution, quote the current object page, note the inconsistency and ask the registrar or visitor service for clarification rather than silently choosing a version.
What can and cannot be concluded from the available records
The documented pages provide dependable starting points: official object records at MMCA and SeMA, a gallery chronology, SeMA’s archive of the 2023 Nam-Seoul Museum of Art exhibition, and contextual material from Lee Ungno Museum and KADA. Together they show how to find and verify examples across granite, onyx, wood, stone and lithographic contexts.
They do not establish every museum that owns a Kim Yun Shin sculpture, every work that has appeared in an exhibition, or the current display status beyond the moment each institution reports it. Treat any worldwide count or “complete list” claim as unsupported unless each institution supplies a corresponding record. For the same reason, confirm all dates, hours and access conditions on current venue pages close to your visit.
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