The article explores the impactful yet often overlooked influence of photography in the domain of Korean contemporary art, particularly focusing on the experimental practices of artists during the 1960s to the 1980s. Notably, it details the works of prominent figures such as Lee Seung-taek, who created site-specific installations, and Kim Yong-cheol, known for his performance art that critiqued political and media control under the Yushin regime. These examples illustrate how photography has often served as a medium for expression within progressive artistic movements in a turbulent political landscape.

Moreover, the article discusses the collective efforts of artists like Kim Chun-soo and others who formed the artist group 'Seoul, 80' to capture and exhibit the essence of their surroundings through photography. These works, though initially lost to time, reflected a keen awareness of space and emotion, representing a significant departure from traditional mediums. The piece highlights how photography has been used not merely as documentation but as an active vehicle for artistic exploration and critique.

However, the text also notes that the legacy of these experimental photographic works remains largely unrecognized, even among art experts. The dual treatment of photography as both an independent genre and a medium in contemporary art further complicates its historical significance, as researchers often overlook the innovative approaches employed by artists from that period. This lack of acknowledgment demonstrates a broader issue regarding the categorization and importance of mixed media in the historical narrative of Korean art.