As the economy changes, the axes and focal points of cultural development shift. Today, within a new economic system that encompasses our own ancient culture, we have seen the manifestation of a strong desire to take part in the dialogue with contemporary art. It is not only an impulse to reassess established art history, but it also makes us aware of the role that we play within it. It took us less than thirty years to move from an anxious thirst for the “contemporary” to living within the “contemporary.” During this time, art quietly shifted from the “realist” narrative to “form.” In this process of formalization, the term “form” does not merely indicate form in itself, but it also signifies the awakening of the form within the “realist” narrative. It is also a renewed “formal” movement that utilizes its own cultural heritage and life experience. Strongly influenced by the logical thinking of Immanuel Kant, Clive Bell, Roger Fry and Clement Greenberg, the discourse of contemporary art history follows an autonomous progression from figurative art to abstraction. This extreme progression reached its peak in the points, lines and planes of Minimalism. The art that followed dissolved the impediments of the above-mentioned developed logic through artistic intervention and diverse methods. The Eastern Mono-ha movement, represented by Lee Ufan, used the natural physicality of objects to extricate itself from the purely conceptual abstraction of Minimalism. However, the discourse of abstraction and the current cultural, economic, regional and temporal limitations confine people’s understanding of abstract art, thus the understanding is fundamentally unable to change. To a limited extent, Mono-ha was merely preserved as a characteristic of modern abstract art. Today, the desire for cultural expression released by the new economy has created a certain vitality to renew contemporary art through repeated self-assurance and a revival of cultural heritage. Through the power of form, it has restored and transcended the direct link between realist narrative art and society, and continues to insert the connections between abstraction, emotion history and time into its own self-affirmation and renewal of form. This “formalizing” development is congenitally connected to the will and conception of the subjective “self.” It can be viewed as a comprehensive deepening of contemporary abstract art against a more diverse cultural and temporal backdrop. Meanwhile, in this process, we have imbued the previous achievements of objectivity-oriented abstract art with the dimensions of the subjective “self,” history and time. In this exhibition, we will depart from the cultural geography of this developing economy to form our own perspectives on Contemporary art. Leng Lin