Less is not always more, as the art of Lee Seung Taek shows. “Lee Seung Taek’s Non-Art: The Inversive Act,” curated by Bae Myungji, offered a welcome elucidation of Lee’s complex, maverick, and frequently erratic visual language, which has occupied a key position in the South Korean avant-garde since the 1960s. Moving beyond Lee’s best-known works—sculptures and performances that engage with natural elements and therefore could be easily misconstrued as a South Korean variant of post-Minimalism or Land art—the exhibition demonstrated the full breadth of the artist’s uncategorizable experimentation.