The performance Dear my artist was staged at the Gwacheon branch of the National Museum of Modern and Contemporary Art, Korea, which also houses the video sculpture The More, the Better by Nam June Paik. For this work, two performances took place simultaneously in two different locations, in the museum’s second-floor lobby and its third-floor gallery. Through a simultaneous broadcasting system, images from each video were screened alternately in real time between the two settings. One of the performances consisted of piano performances of pieces that Paik often performed in his youth and later years. this way, Cho imagines what sort of person Paik was before becoming an artist and during the time after he had effectively retired, while attempting to connect this to the idea of the artist’s “self.” Her idea is that it may be possible to understand Paik’s life as an artist more clearly by stripping away the familiar images associated with him. The other performance features three performers of different ages and genders who repetitively perform movements that might be found in a circus, including handstands and flips. The precarious state of potentially falling and the sense of balance amid tension are compressed into single physical images through the performers’ movements.