SEOUL (Taiwan News) — Art OnO 2025 distinguishes itself by prioritizing quality, diversity, and an engaging experience over scale, aiming to redefine the art fair model with a curated selection of galleries and a focus on promoting artists beyond sales.

The second edition of Seoul’s meticulously curated art fair, Art OnO, has emerged as a significant force in the international art landscape, championing a philosophy that places quality and diversity at its core. Founded by seasoned art collector Jae Myung Noh (魯宰明), Art OnO distinguishes itself from the conventional art fair model, opting for a more intimate and engaging experience.

In a recent interview with Taiwan News, Noh shared his vision, highlighting a desire to transcend the transactional nature of traditional art markets. "I wanted to see something different rather than just seeing a simple market," he explained. 

"I thought art has to be more than just selling artworks because nowadays we could just sell an artwork through PDF. You do not have to actually travel to sell artwork," Noh said.

Noh’s approach directly addresses the escalating costs associated with large-scale art fairs, such as exorbitant booth rentals and shipping fees. Instead, Art OnO focuses on fostering a platform that elevates galleries and artists, allowing them to showcase their unique programs and identities. 

"I thought it has to be more like promoting their programs, their artists, and who they are," Noh said, acknowledging a perceived gap in the Asian art scene.

The inception of Art OnO was a carefully considered endeavor, with Noh dedicating several years to planning and deliberation. Despite the inherent challenges and the potential for limited initial profitability, he was driven by a conviction to create something distinct. 

"I thought, no one is gonna do it, so I might as well be the one," he said.

The fair’s unique approach has resonated with collectors, both returning and new, who appreciate its curated selection and engaging atmosphere. "We had a lot of collectors come from everywhere…from Asia, Europe, and North America," Noh shared.

While acknowledging the complexities of organizing an art fair, Noh expressed a deep appreciation for the curatorial aspects and the interactions with participating galleries. He chose not to disclose specific sales figures, underscoring the fair’s emphasis on the overall experience. 

"We told everybody that we are not going to release any numbers because we thought everybody is putting too much attention on the numbers," he explained. However, he confirmed that both the inaugural and current editions have performed "pretty well."

Noh also addressed Korea's burgeoning role in the Asian art market, observing a significant shift in recent years. "Even like five years ago, we all thought that the center, like the biggest art hub, was Hong Kong," he noted. 

While Hong Kong remains a key player, he recognized the immense potential of Seoul, Tokyo, and even Taiwan. He attributed this growth, in part, to the global fascination with Korean culture.

"People want to know more about K-pop, Korean cuisine, current artists, and people want to visit Korea. So that is definitely helping," he emphasized.

Looking ahead, Noh outlined his vision for Art OnO, prioritizing quality, freshness, and diversity. "The most important part is the quality," he reiterated. 

"Hence, that is why we are having 40 galleries, featuring blue-chip galleries such as Tomio Koyama and Kaikai Kiki, but from almost 20 countries, which is very diverse, and we want to have more and more diversity," he said. 

Despite plans for gradual expansion, Noh remained committed to maintaining a boutique scale. "We are definitely going to expand, and we did so on the second edition, but I do not want to have like 150 galleries, 200 galleries. It is never going to happen." 

Noh intended to limit the number of participating galleries to two digits, ensuring a focused and high-quality experience for attendees. "For us, it is all about the quality."

Art ONO 2025, which held its highly anticipated VIP preview on April 10, has garnered significant attention from galleries, collectors, curators, and art enthusiasts worldwide, especially Taiwanese collectors, according to the founder. 

The fair also attracted leaders from the auction world, with Jonathan Crockett, chairman of Phillips Asia, and Hak Jun Lee, general manager of Christie’s Korea, praising the curated selection of works. Yulhee Kim, deputy director of Sotheby’s Korea, participated as a featured speaker, adding to the fair’s discourse.

Art OnO 2025. (Taiwan News, Lyla Liu video)