Chung Seoyoung, who is putting on a solo show in Korea for the first time in four years, has filled the gallery space with mysterious objects, as usual. The sentences and a wooden sign gathered on the ground floor allow space for natural sunlight; two metal pillars and plastic walnuts are placed in the corner of the room; and the video work that records a walnut cast in plasticine plays on the first floor. It is not easy to understand Chung’s works in comparison with familiar narratives. The purpose of this article is not to enumerate and describe all the materials that occupy their own space in the gallery, because in a space constructed under Chung’s direction, an explanation for what is plainly visible and on display does not help much. At first glance, the works of art seem simple, but they conceal and reveal details such as the lines drawn on the edges of a framed picture, or a key in an envelope.