SEOUL.- Frieze Seoul has quickly become one of the key meeting points on the international art calendar, and White Cube is returning this September with a presentation that mixes major names, newer voices and several artists with exhibitions unfolding elsewhere around the world.
The fair runs September 2–5, 2026, at COEX, where White Cube will be showing at Stand A20.
Rather than building the booth around a single theme, the gallery is taking a broad approach, bringing together artists from different generations, countries and practices. The presentation includes works by figures such as Mona Hatoum, El Anatsui, Georg Baselitz, Theaster Gates, Park Seo-Bo, Marina Rheingantz and Danh Vo, alongside a wider group of artists from White Cube’s international program.
For Seoul audiences, one of the most closely watched names will likely be Park Seo-Bo, whose work has become inseparable from the story of Dansaekhwa and the international rise of postwar Korean abstraction. White Cube is showing both a 1985 work from his Ecriture series and another made in 2022, placing two distant moments in the artist’s career within the same presentation.
The booth also stretches across several decades. Among the earlier works are Takis’ Signal from 1973, a 1978 painting by Salvatore Emblema and Isamu Noguchi’s Mountains Forming from 1982–83. More recent pieces include El Anatsui’s MivEvi VII from 2025, Howardena Pindell’s Tesseract #26 from 2024 and Beatriz Milhazes’ A Valsa das Folhas IV, also from 2024.
The fair presentation also arrives as White Cube expands its exhibition activity around several of the same artists.
Just outside the fair, Marina Rheingantz is making her Korean solo debut at White Cube Seoul. The Brazilian painter is presenting new works made in her So Paulo studio over the past year, with the exhibition remaining on view through October 24. Her 2026 painting I love Vuillard is also part of the Frieze Seoul presentation.
Tesfaye Urgessa is another artist appearing at a particularly active moment in his relationship with the gallery. White Cube Hong Kong will open his first exhibition with the gallery on September 9, shortly after Frieze Seoul concludes.
Several artists in the booth are also appearing in major exhibitions elsewhere. Mona Hatoum is taking part in Manifesta 16 in Germany’s Ruhr region, while Christian Marclay will open a solo exhibition at White Cube Paris on September 9. Danh Vo, meanwhile, will open a New York exhibition the following day, marking his return to the city after his 2018 Guggenheim exhibition Take My Breath Away.
Tracey Emin is also represented in Seoul with Kissing Through the Fence from 2019. Later in the fall, White Cube Paris will present new paintings and sculptures by Emin in an exhibition timed with Art Basel Paris.
Taken together, the presentation feels less like a single curated statement than a snapshot of a gallery network in motion. Works in Seoul connect with exhibitions opening almost simultaneously in Hong Kong, Paris and New York, while artists in the booth are also participating in larger institutional projects elsewhere.
For visitors to Frieze Seoul, that makes the White Cube stand more than a gathering of individual works. It becomes a compact view of how artists, exhibitions and markets are increasingly moving across several cities at once — with Seoul firmly established as one of the places where those conversations now meet.
