BETWEEN 1988, when she was just twenty-four, and 1996, South Korean artist Lee Bul went on one of the great artistic streaks of recent decades, uncorking more than thirty heterogeneous performances that were incisive, uproarious, and sometimes harrowing. Through a canny marshaling of documentary materials, “Lee Bul: Beginning” offered a convincing and considered account of that legendary stretch, highlighting the artist’s unflinching challenges to gender inequity, militarism, and other enduring repressive scourges.

Projected at monumental scale on the walls of a long, dark