Haneyl Choi has been on a tear recently, his mischievous sculptures of abstracted figures alighting in no fewer than a dozen group shows in Seoul in the past two years. At Leeum, Samsung Museum of Art, a stack of three black hemispheres formed a kind of tar-covered snowman on one side, while the other was flat, pink, and adorned with two breasts, a penis, arrows, and dashed lines: the body as mutable construction. For a display of work by gay men that Choi organized at the Museumhead space, a mold of a forearm was stuck on a thin wire stand, extending a middle finger that had been broken off: