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It is absorbing to learn, then, from the well-written archive article by Alexandra Munroe, who organized the appearance and is the Guggenheim’s babysitter of Asian art, what a agitated ambiance of art and backroom Mr. Lee came out of. He was built-in in Japanese-occupied Korea in 1936. He advised painting in Seoul and aesthetics in Japan, area he confused in 1956.

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Steeped in the phenomenology of Merleau-Ponty and Heidegger and in Marxist politics, he became an alive actor in the countercultural upheavals of the 1960s. At the end of the decade he was co-founder of an antitraditionalist movement alleged Mono-ha, which almost translates as “school of things.”

Examples of Mr. Lee’s Mono-ha works actuality accept an enigmatic, wry wit. A allotment from 1969 alleged “Relatum” (Mr. Lee has acclimated this chat in the titles of best of his three-dimensional works) makes his apropos explicit. A breadth of elastic award apparent in centimeters like a band admeasurement is partly continued and captivated bottomward by three stones. A adaptable adjudicator will accord apocryphal measurements, but are not all human-made barometer accessories analogously fallible? Actuality was a apologue for a time back accurate representations of accuracy seemed added capricious to active rebels everywhere.

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A assignment from 1971 consisting of seven begin boulders, anniversary comatose on a simple aboveboard beanbag on the floor, foreshadows Mr. Lee’s solution. The pillows add a assertive animal humor, as if the stones were incarnations of the allegorical Seven Sages of the Bamboo Grove, whose minds broadcast above animal banned to embrace geological time. But added important, the seven rocks alert brainwork on our unmediated acquaintance of things in time and space.

The botheration is that in a building ambience it is abutting to absurd to acquaintance stones bare by cultural, allegorical associations. We accept apparent too abounding rocks acclimated as mural ornaments and apprehend too abounding balladry about them. Looking at a “Relatum” from 2008, in which a bedrock is placed in advanced of an 80-inch-tall animate bowl that leans adjoin the wall, the bond of attributes and ability is too familiar, too formulaic, to be revelatory.

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In paintings from the aftermost four decades, Mr. Lee has fabricated the besom achievement his primary device, generally to optically arresting and agreeable effect. In the ’70s he pursued two approaches, consistently application aloof one blush per canvas — usually blue, red or black.

In one alternation he acclimated a paint-loaded besom to accomplish accumbent rows of boxlike marks one afterwards another, anniversary paler than its predecessor, as the acrylic was acclimated up. He thereby created gridded fields of staccato patterning.

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In added paintings he acclimated advanced brushes to accomplish long, vertical stripes, aphotic at the top and crumbling against the bottom. They accord the consequence of stockade angry blocked abreast the arena by below fog.

In the ’80s Mr. Lee alone up his acclamation and began to aftermath airy, connected compositions in a affectionate of Abstract Expressionist appearance apprenticed not by affecting all-overs but by contentment in existential flux. This aeon culminates at the end of the decade in canvases densely covered by squiggly gray marks that are amid the exhibition’s best compelling.

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From the mid-’90s on, Mr. Lee pared bottomward his paintings, accession four years ago at a accurate modular form: an billowing besom achievement shaped like a allotment of aliment and crumbling from atramentous to anemic gray. He uses this accessory to accent sparingly large, contrarily blank, fair canvases. Here, as with the bean and animate works, brightness trumps phenomenology.

But article altered and added agitative happens in a site-specific assignment that ends the show. In an about aboveboard room, Mr. Lee corrective one of his gray-black modules anon on anniversary of three walls. A hasty astriction amid the achievement of the acrylic and an apparition of amplitude arises. The modules become like television screens or aeroplane windows, affording angle of indefinite, possibly absolute amplitude above the building walls. It makes for a accomplished bells of the absolute and the metaphysical.

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