Judging by the evidence presented in this intoxicating retrospective, Moon Shin (1922–1995) could have had a standout career as a painter and perhaps gone on to secure a place in the canon, but instead he established himself as one of South Korea’s preeminent sculptors. In the 1940s and ’50s, after art school in Tokyo, he fluidly recorded slices of everyday life in South Korea—a farmer lounging near a cramped chicken coop or fish gazing up from a basket—with the concise eloquence of a Park Soo-keun and the thick color of a Georges Rouault. Moon was inventive, and he moved in the right circles;