This March, Tino Sehgal’s large-scale solo exhibition will be held at Leeum Museum of Art in Seoul. Unlike conventional exhibitions, it has no physical form; there are no sculptures or canvases. Instead, interpreters perform movements, creating live situations. Following the artist’s philosophy, photography, recordings, and catalogs are strictly prohibited.

A noteworthy point is how the character of the space changes. Conventional museums are places for static appreciation and personal contemplation. By contrast, Sehgal’s exhibition space transforms into a productive place where people co-create experiences and interact in real time. The artist focuses on relations and incidents as the core essence, representing a new paradigm in which art constructs experiences.

The audience are not mere spectators; encountering others and gaining personal realizations becomes a form of artistic production.

In his famous work, “This Progress,” visitors engage in conversations with performers across different age groups about the meaning of progress. Through this interaction, the audience becomes part of the artwork, experiencing how dialogue functions as artistic material.

Ultimately, formless art shifts museums from a static space into a dynamic “social platform.” In a society fixated on material outcomes, the sense of liberation offered by art that leaves no trace lies in the design of empathy. Even without merchandise or photographs, visitors depart carrying a philosophical question. This may be the true key performance indicator (KPI) of value-based management that future art managers should pursue.

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