Shan Hur might best be described as an architectural interventionist. Through his subtle objects and installations, he transforms ordinary spaces—including galleries, disused offices, and building facades—into construction sites, revealing the beauty in the mundane and unexpected, and upending conventional notions of what constitutes a work of art. He is inspired by shuttered shops and construction sites, locations poised between openness and solidity, where the guts of our otherwise veneered urban environments are temporarily exposed. His interventions have included gauging holes into columns and scratching crevices into walls, into which he inserts such curiosities as stoneware or coins. “I feel that my art doesn’t truly exist until people fully discover it,” Hur has stated, and indeed, to see his art, viewers must first recognize it.