LONG ISLAND CITY, NY.- MoMA PS1 presents a major exhibition of artist Ayoung Kim (Korean, b. 1979), featuring a suite of video installations throughout the museum’s expansive third-floor galleries. On view November 6, 2025 through March 16, 2026, Ayoung Kim: Delivery Dancer Codex marks the first time all three works from Kim’s celebrated trilogy are shown together. Recognized as an artist on the vanguard of digital innovation, Kim uses videogame engines, live-action footage, and generative AI to create speculative narratives that collide geopolitics, synthesize mythologies, and interrogate technologies. Seen together, her works examine the evolving relationships between data, human beings, and the environment to surface connections between biopolitics, queerness, and xenophobia.

The exhibition marks the US premiere of Kim’s Delivery Dancer trilogy. Set in a fictitious Seoul, the first video in the series, Delivery Dancer’s Sphere (2022), follows female delivery drivers En Storm and Ernst Mo (whose names are anagrams of “monster”). Kim sets her doppelgänger protagonists within endlessly regenerating routes, devised by an algorithm named Dancemaster. Featuring live-action footage from actors in real locations, the work—which Kim describes as a “pandemic fiction” centers labor within the gig economy, which skyrocketed in both Korea and the US during recent years. In the cinematic sequel Delivery Dancer’s Arc: 0° Receiver (2024), Kim sets Ernst Mo and En Storm within a futurist multiverse, in which they are tasked with a new objective: delivering time. Transformed into agents who traverse calendar mechanics and astronomical technologies, Mo and Storm travel through disjointed realities within Kim’s narrative. Blending CGI, live-action footage, and gaming engines, the three-channel video blurs space and time, self and other, in a fraught narrative of emotional entanglement. The most recent chapter in the series, Delivery Dancer’s Arc: Inverse (2024) takes place in the alternate universe Novaria, wherein Kim’s recurring protagonists must deliver lost artifacts. The monumental three-channel video installation draws attention to traditional temporalities and worldviews erased by Western modernism through the standardization of the Gregorian calendar. The worlds within Kim’s videos extend into the galleries through sculptures of sundials, mobile phones, mirrors, and mannequins, as well as a monumental wallpaper work. In the trilogy’s central deliverables—urban commodities, cultural antiquities, and time itself—Kim challenges capitalist pressures to meet increasing global demands through self-optimization.

Ayoung Kim is an artist based in Seoul who works with video, virtual reality, sound, and text. Her work has been presented at M+, Hong Kong (2025, 2024); Hamburger Bahnhof, Berlin (2025); Tate Modern, London (2025); The National Museum of Art, Osaka (2025); Atelier Hermès, Seoul (2025); Copenhagen Contemporary (2025); Mori Art Museum, Tokyo (2025); HEK, Basel (2025, 2023); ACMI, Melbourne (2024); The Museum of Modern Art, New York (2024); The Sharjah Biennial (2023); Ars Electronica, Linz (2023); International Film Festival Rotterdam (2023); Asian Art Biennial, Taichung (2021); Berlin International Film Festival (2020); Busan Biennale (2020); Gwangju Biennale (2018); Palais de Tokyo (2016); and the Venice Biennale (2015), among others. Kim is a recipient of the LG Guggenheim Award, US (2025); the ACC Future Prize, National Asian Culture Center, Korea (2024), Golden Nica Award, Prix Ars Electronica, Austria (2023), and the Terayama Shuji Prize, 37th Image Forum Festival, Japan (2023). She was a supported artist for the Korea Artist Prize (2019) and a recipient of the Young Artist of the Year Award, Ministry of Culture, Korea (2015). Her works are in the collections of The Museum of Modern Art, New York; Tate museums, UK; ACMI, Australia; Frac Lorraine, France; The National Museum of Art, Osaka, Japan; Sharjah Art Foundation, UAE; KADIST, US and France; the MMCA (National Museum of Modern and Contemporary Art), Korea; the Leeum Museum of Art, Korea; Seoul Museum of Art, Korea and the Busan Museum of Art, Korea, among others. As part of the Performa Biennial, Kim will also debut a commission, Body^n, presented at Canyon from November 13 through 15, 2025.

The exhibition is organized by Ruba Katrib, Chief Curator and Director of Curatorial Affairs, MoMA PS1.