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Gallery Exhibitions

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Museum Exhibition

Mori Art Museum
Do Ho Suh + Po Po

July 25 – October 12, 2015

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Do Ho Suh

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Whitewall

Winter 2015

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Artforum

January 28, 2017

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The Art Newspaper

November 30, 2016

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Artnet News

March 12, 2015

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Artforum

February 2015

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Time Out New York

October 16, 2014

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designboom

October 5, 2014

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Art in America

October 2014

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Time Out New York

September 25, 2014

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Artnet

September 14, 2014

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Art21

February 19, 2014

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Baccarat

December 2013

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The Wall Street Journal

November 6, 2013

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Art Asia Pacific

Nov/Dec 2013

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Modern Painters (Asia Edition)

November 2013

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Ocula

November 2013

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Artinfo

May 8, 2013

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Sculpture Magazine Personal Histories: Do Ho Suh

November 1, 2012

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Sculpture

November 2012

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The Los Angeles Times

June 16, 2012

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The San Diego Union-Tribune

June 1, 2012

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ABC News

May 31, 2012

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Art Asia Pacific

April 30, 2012

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Wall Street Journal

April 24, 2012

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April 4, 2012

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Harper's Bazaar

March 31, 2012

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The Korea Times

March 27, 2012

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Designboom

January 27, 2012

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MSNBC

November 16, 2011

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ARTnews

October 31, 2011

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Art in America

October 31, 2011

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Riviera

October 31, 2011

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San Diego City Beat

October 19, 2011

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The Seattle Times

October 13, 2011

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Seattle Met

October 11, 2011

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October 9, 2011

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Surface

September 30, 2011

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Elle Decor

September 30, 2011

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September 30, 2011

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September 30, 2011

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September 30, 2011

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Frame Magazine

September 30, 2011

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Voice of San Diego

September 28, 2011

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New York Magazine Review

September 26, 2011

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Fast Co. Design

September 26, 2011

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New York Magazine

September 20, 2011

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Art in America

September 15, 2011

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Time Out New York

September 8, 2011

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Tate Modern

August 31, 2011

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Designboom

August 16, 2011

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Time Out Hong Kong

May 25, 2011

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W Magazine

October 31, 2010

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Art + Auction

October 31, 2010

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Artforum

May 13, 2010

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International Herald Tribune

March 30, 2010

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The Houston Chronicle Online

November 19, 2009

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Art in America

November 17, 2009

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Los Angeles Times Culture Monster Blog

June 28, 2009

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Los Angeles Times

June 24, 2009

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Los Angeles Times

June 21, 2009

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Artdaily.org

May 18, 2009

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Surface Design Journal Winter 2009, Volume 33, No. 2

December 31, 2008

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Icon Issue 065

October 31, 2008

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ArtAsiaPacific

June 30, 2008

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ArtInfo

June 30, 2008

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Artforum

May 31, 2008

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The Guardian U.K.

May 28, 2008

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Art in America

March 1, 2008

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November 29, 2007

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Vogue Living

November 1, 2007

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November 1, 2007

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Artforum

February 1, 2007

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Designboom.com

January 18, 2007

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Sculpture

December 1, 2005

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Tema Celeste

September 1, 2004

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Architectural Record

September 1, 2004

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Washington Post

April 25, 2004

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Galleria Soledad Lorenzo Catalog Text

January 27, 2004

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Art in America

November 1, 2003

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Interni

October 1, 2003

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Tema Celeste

September 1, 2003

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Art Asia Pacific

September 1, 2003

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Time Out New York

July 3, 2003

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July 2, 2003

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New York Sun

June 26, 2003

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Village Voice

June 23, 2003

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June 13, 2003

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Art AsiaPacific

March 1, 2003

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Tema Celeste

July 1, 2002

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Artforum

January 1, 2002

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Sculpture

October 1, 2001

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Tema Celeste

January 1, 2001

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Art in America

November 1, 2000

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New York Times

September 29, 2000

Art in America


REVIEW OF EXHIBITIONS
Do Ho Suh at
Lehmann Maupin
Do Ho Suh's simultaneous installations
at this gallery's two locations
were a study in contrasts:
storm-tossed and serene, fiery
colors and watery ones, brilttle
plastic and filmy cloth. Cause and
Effect (2007), the main event at
Lehmann Maupin's Chelsea gallery,
was a mind-bending tomado
of thousands of tiny identical
acrylic figurines arranged in spiraling
towers, each supporting
another on his shoulders. Lined
up in curving ranks across one
big room's ceiling, they twisted
inward, like the clouds around
a hurricane's eye, to a dense
inverted cone whose vertex was
a single man, his feet just skimming
the floor. The illusion was
that this vast human maelstrom
all rested on the back of a lone
Individual. But the energy of
Cause and Effect was mostly
sucked upward into the boggling
profusion of drones. In colors
that ranged from near-white pink
through Jujube shades of orange.
red and yellow, they formed a
gorgeous hive that evoked both
Busby Berkley spectacle and
a fixture from some over-the-top
Chinatown banquet hall.
Inaugurating the gallery's Lower
East Side location was Reflection,
a traditional Korean ceremonial
gate fashioned at full scale and in
considerable detail in translucent
aqua-colored nylon. First installed
at the glass-walled lobby of the
Hermes headquarters in Tokyo in
2004, it had not previously been
executed in the U.S. In New York.
it occupied a windowless high-ceilinged
room, with an effect of
pulse-slowing serenity. In both
cases, the powertully effective
illusion is of reflection in water: at
street level in New York, viewers
encountered an inverted arched
gate, its roofline slightly below
eye level; aqua scrim stretched
overhead across the entrre room,
dividing It horizontally, and a
second, identical gate mirrored it
above. Looking up, you had the
impression not so much of being
underwater as of somehow being
upside down with your feet in
the air, peering down into a body
of water that floated beneath
your head. A balcony at one end
offered a second, more distanced
view of the upright gate, and of
the inverted one which seemed to
float more sensibly below, where
other viewers might be seen movIng
beneath the watery-blue scrim.
(The gate represented is a faithful
reproduction of one at the artist's
childhood home, itself a finely
crafted replica of a historical scholar's
house, which adds another
level of doubling to the project)
Both new installations have
established precedents in Do
Ho Suh's work. The worker bees
in his dazzling 2000 show at
Lehmann Maupin (then in SoHo).
which put thousands of little,
near-identical plastic men literally
underfoot, their upraised arms
supporting clear flooring beneath
unsuspecting viewers' feet; the
nylon gate belongs in a series of
actual-size architectural models
of the artist's several residences,
including an apartment in New
York. In what begins to look like a
Manlchean universe, the benevolent
calming forces of tradition
and domesticity are opposed to
the workaday strivings of puny
Individuals, literally climbing on
each other's backs to reach an
ever-dissipating goal. Together,
these mirror-image worlds infinitely
extend the reflections and
interior multiplications essential to
each, trumping any inclination to
irony with pure visual splendor.
-Nancy Princenthal
Art in America
March 2008