At first glance, the stacked sculptures in Shin il Kim’s current exhibition, “Ready Known,” appear purely abstract. But linger a little longer and the letter M emerges from the dense thicket of coated stainless steel. Behind that is an I, then an N and a D, these last letters coming out quicker than the first. The piece—Mind (all works 2013)—is placed on top of Belief, which spells out its title in a similar fashion. Both words are central to the show, which comprises fourteen new works that aim to highlight the distance between knowledge and wisdom—between logical categorization and intuitive