e昀琀, right, le昀琀, right—it is easy to imagine Suh Se Ok only now gaining attention in the broader global context moving his brush across the paper to create the of modernism.� Suh’s mesmerizing image encapsulates Ldiagonal marks in his 1988 painting People (昀椀g. 1).� all four of our themes; indeed, many other works could Suh builds a complex image by way of a seemingly be sorted into more than one category, a fact we know- straightforward repetitive pattern. Yet the title forces ingly embrace. By emphasizing each object and its us to look more closely at the pointed units and to formal and material characteristics, Lineages introduces notice that the individual strokes form the character for uncharted narratives in order to shi昀琀 the story of Korean “human” (人, in). In the center, the ordered rows dissolve art beyond the simple terms of “traditional” and into intersecting lines—a landscape of many people in “modern,” inviting us to consider the manner in which which it is progressively more di昀케cult to identify discrete stylistic lineages are continued, challenged, or reshaped. elements. In calling the work “people” and not person or Seeing these pieces alongside one another rather than man, Suh compels us to consider both the part and the in a strict chronological framework allows us to appreci- whole, the individual and the collective. ate ideas that have resonated across time and bound People is the opening image of Lineages: Korean artists together. Art at The Met The 昀椀rst works of Korean art to enter The Met , an exhibition that celebrates the twenty- 昀椀昀琀h year of the Arts of Korea Gallery at The Metropolitan collection were eight musical instruments that arrived as Museum of Art, New York. Through some thirty paint- part of the monumental gi昀琀 of the Crosby Brown ings and ceramics dating from the twel昀琀h century to the Collection, in 1889.� Four years later, in 1893, a mid- present day, it o昀昀ers an exploration of the history of 昀椀昀琀eenth- century inscribed buncheong dish decorated Korean art in four intertwined themes—things, places, with stamp- impressed chrysanthemums and dots in people, and lines.� These themes place objects drawn white slip was acquired by the Museum through a gi昀琀 of from The Met collection in active dialogue with loans by 245 Asian ceramics from the Hudson River School painter twentieth- century Korean artists, many of whom are Samuel Colman and his wife, Ann Lawrence Colman (née Fig. 2. Dish with inscription, chrysanthemums, and rows of dots, Joseon dynasty (1392–1910), mid- 15th century. Buncheong ware with stamped design, Diam. 71/4 in. (18.4 cm). The Metropolitan Museum of Art, New York, Gi昀琀 of Mr. and Mrs. Samuel Colman, 1893 (93.1.216) 5