Editing Nam June Paik (section)

==Exhibitions==
[[File:Nam June Paik - SF MOMA - 2021-09-17 - Sarah Stierch.jpg|thumb|Entrance to the Nam June Paik retrospective at the [[San Francisco Museum of Modern Art]] in 2021]]
Paik's first exhibition, entitled "Exposition of Music – Electronic Television", was held in 1963 at Galerie Parnass in [[Wuppertal]], Germany. A retrospective of Paik's work was held at the [[Whitney Museum]] in [[New York City]] in the spring of 1982. Major retrospectives of Paik's work have been organized by [[Kölnischer Kunstverein]] (1976), [[Musée d'art moderne de la Ville de Paris]] (1978), [[Whitney Museum of American Art]] in New York City (1982), [[San Francisco Museum of Modern Art]] (1989), and the [[Kunsthalle Basel]] (1991).

Nam June Paik's first major retrospective in Korea, ''Video Time – Video Space'', opened at the Gwacheon location of the [[National Museum of Contemporary Art (South Korea)|National Museum of Modern and Contemporary Art, Korea]] on July 30, 1992.<ref name="Lee-2021" />{{Rp|page=154}} Although the exhibition lasted merely 34 days, it saw 117,961 paid visitors; the unofficial visitor count reached nearly 200,000.<ref name="Lee-2021" />{{Rp|page=154}} The exhibition involved the participation of major entities of media and business—including the Korea Broadcasting Corporation and Samsung Electronics.<ref name="Lee-2021" />{{Rp|page=154}}  The exhibition presented approximately 150 artworks, beginning with ''[[The More, The Better]]'' as the exhibition's starting point.<ref name="Lee-2021" />{{Rp|page=156}} According to Lee Sooyon, Paik carefully tailored the exhibition's works to his audiences. Knowing that Korea's audience was not familiar with international art world conversations of video art, Fluxus, and performance art, Paik selected artworks that appealed to popular subjects of Korean culture and history.<ref name="Lee-2021" />{{Rp|page=156}}  The exhibition also featured works from Paik's ''TV Buddha'' and ''My Faust'' series.<ref name="Lee-2021" />{{Rp|page=156}}

A final retrospective of his work was held in 2000 at the [[Solomon R. Guggenheim Museum|Guggenheim Museum]] in New York City, with the commissioned site-specific installation ''Modulation in Sync'' (2000)<ref>{{cite web|author=Mark Stevens|date=February 21, 2000|url=http://nymag.com/nymetro/arts/art/reviews/2075/|title=Surfing the Guggenheim|archive-url=https://web.archive.org/web/20140203081323/http://nymag.com/nymetro/arts/art/reviews/2075/|archive-date=February 3, 2014|work=[[New York Magazine]]}}</ref> integrating the unique space of the museum into the exhibition itself.<ref>{{Cite web|url=http://pastexhibitions.guggenheim.org/paik/index.html|archive-url=https://web.archive.org/web/20150214035440/http://pastexhibitions.guggenheim.org/paik/index.html|url-status=dead|title=The Worlds of Nam June Paik|archive-date=February 14, 2015|website=pastexhibitions.guggenheim.org}}</ref> This coincided with a downtown gallery showing of video artworks by his wife [[Shigeko Kubota]], mainly dealing with his recovery from a stroke he had in 1996.

In 2011, an exhibition centered on Paik's video sculpture ''One Candle, Candle Projection'' (1988–2000) opened at the [[National Gallery of Art]] in [[Washington, D.C.]]<ref>{{cite web|url=http://www.nga.gov/press/exh/3376/index.shtm|title=Press Release: First Nam June Paik Exhibition at National Gallery of Art, Washington, Includes Most Ambitious Installation to Date of "One Candle, Candle Projection"|archive-url=https://web.archive.org/web/20130102012157/http://www.nga.gov/press/exh/3376/index.shtm|archive-date=January 2, 2013|work=[[National Gallery of Art]], Washington, D.C.}}</ref> Another retrospective was mounted at the [[Smithsonian American Art Museum]] in Washington, D.C., in 2012–2013.<ref name="Karen Rosenberg-2013">{{cite web|author=Karen Rosenberg|date=January 11, 2013|url=https://www.nytimes.com/2013/01/11/arts/design/nam-june-paik-at-smithsonian-american-art-museum.html|title=He Tickled His Funny Bone, and Ours|archive-url=https://web.archive.org/web/20170331034945/http://www.nytimes.com/2013/01/11/arts/design/nam-june-paik-at-smithsonian-american-art-museum.html|archive-date=March 31, 2017|work=[[New York Times]]}}</ref><ref>{{cite web|url=http://americanart.si.edu/exhibitions/archive/2012/paik/|title=Nam June Paik: Global Visionary|archive-url=https://web.archive.org/web/20130106221102/http://americanart.si.edu/exhibitions/archive/2012/paik/|archive-date=January 6, 2013|publisher=Smithsonian American Art Museum, December 13, 2012 – August 11, 2013}}</ref> As a leading expert in Paik's work, art historian John G. Hanhardt was the curator for three landmark exhibitions devoted to the artist, the ones at the Whitney Museum, the Guggenheim Museum, and the Smithsonian American Art Museum.<ref name="nytimes.com">{{cite web|author=Carol Vogel|date=April 30, 2009|title=Nam June Paik Archive Goes to the Smithsonian|url=https://www.nytimes.com/2009/05/01/arts/design/01voge.html|archive-url=https://web.archive.org/web/20180127073119/http://www.nytimes.com/2009/05/01/arts/design/01voge.html|archive-date=January 27, 2018|work=[[New York Times]]}}</ref>
 
Paik's work also appeared in important group exhibitions such as [[São Paulo Biennale]] (1975), [[Whitney Biennial]] (1977, 1981, 1983, 1987, and 1989), [[Documenta]] 6 and 8 (1977 and 1987), and [[Venice Biennale]] (1984 and 1993).<ref name="Nam June Paik"/>

From April 24, 2015, to September 7, 2015, Paik's works ''T.V. Clock'', ''9/23/69: Experiment with David Atwood,'' and ''ETUDE1'' were displayed at "Watch This! Revelations in Media Art" at the Smithsonian American Art Museum.<ref>{{Cite web|title = Online Gallery – Watch This! Revelations in Media Art |publisher=Smithsonian American Art Museum |url = http://americanart.si.edu/exhibitions/online/watch_this/ |access-date = July 25, 2015|url-status = dead|archive-url = https://web.archive.org/web/20150703074009/http://americanart.si.edu/exhibitions/online/watch_this/|archive-date = July 3, 2015}}</ref>

Although Paik's pioneering experimentalism and foresight of the important role media would continue to play in society has been examined across many exhibitions, for a 2019 exhibition, the [[Tate Modern]] turned its focus upon Paik as a collaborator.<ref name="Nam June Paik-2019" />{{Rp|page=6}}<ref name="Lee-2021" />{{Rp|page=152}} This exhibition later travelled to the [[San Francisco Museum of Modern Art]], where it was presented at the first West-coast retrospective of Paik's work from May 8, 2021, through October 3, 2021.<ref>{{Cite web|author=Dan Gentile|date=June 3, 2021|title=This is the buzziest museum exhibit in SF|url=https://www.sfgate.com/sf-culture/article/sf-moma-nam-june-paik-san-francisco-museum-exhibit-16220185.php|access-date=August 2, 2021|website=SFGATE|language=en-US}}</ref> It was later presented at the [[National Gallery Singapore]] from 10 December 2021 to 27 March 2022, a first time that such an expansive and ambitious presentation of Paik's oeuvre was presented in Southeast Asia <ref>{{Cite web|title = EXHIBITION REVIEW: "NAM JUNE PAIK: THE FUTURE IS NOW"|date=December 14, 2021 |publisher=ARTSG |url = https://artsg.com/news/exhibition-review-nam-june-paik-the-future-is-now/ |access-date = April 24, 2024}}</ref>

In late 2022, the [[National Museum of Modern and Contemporary Art|National Museum of Modern and Contemporary Art, Korea]], will present an exhibition that focuses on Paik as cultural organizer who made an immense impact upon South Korea's art scene; it aims to bring into greater focus Paik's relationship with national identity.<ref name="Lee-2021" />{{Rp|page=152}}{{Update inline|date=July 2023}}