When we decided to open a gallery, the first question wasn't which artists to show. It was which artists we wanted to be near.

The artists we look for are those still working something out with materials — people using matter in ways art history hasn't yet named. We know that kind of practice takes years, survives failure, and often can't explain itself yet. So we don't rush it.

Good work doesn't argue. It's simply there. You feel something, or you don't. PBG makes space for that encounter — not for judgment, but for meeting.

Coming to Paris wasn't strategic. We'd long been uncomfortable with the way Korean art tends to arrive in the world: introduced, explained, contextualised, until the actual texture of the work disappears in the translation. This space is that attempt.

Discovery sounds grand. But in practice it's simpler: going to studios, looking for a long time, remembering what doesn't leave you.