It’s now been several years since Frieze launched in Seoul, and the fair’s fourth edition will unfold in a city—and within a local art scene—that has changed dramatically, growing exponentially, becoming more international with each year and now anchoring the most anticipated week for contemporary art in South Korea. An expansive program of live art and performance, film screenings, talks and special projects will run alongside presentations from over 120 galleries from nearly thirty countries, reflecting the dynamism of Korean artistic practice and the global conversations shaping it. Ahead of this year’s edition, which opens on September 3, we spoke with Pat Lee, who has led the fair since its inception, to reflect on Frieze Seoul’s rapid growth, the evolution of Korea’s art scene, and its expanding role in the global cultural economy.
As Pat Lee points out, even before Frieze arrived, Seoul had a well-developed art ecosystem, with strong infrastructure, established galleries, dynamic institutions, and a steady influx of international visitors. The first edition, he admits, had its share of challenges: the city was just emerging from COVID, some countries still had travel restrictions in place and there were the usual logistical headaches that come with launching an event of that scale. I remember attending that inaugural edition—getting a taxi or navigating the city was nearly impossible without a Korean app or a Korean friend. And beyond the exhibitors, international visitors were few and far between. But just one year later, the picture had changed, and it’s still evolving rapidly.
Frieze has undeniably accelerated the internationalization of Seoul Art Week and elevated the city’s profile as a global art destination—not just for regional collectors but also for those flying in from across the world. At the same time, it has helped coordinate and amplify the existing energy of a rich local scene already in motion.
Lee recalls how, in that first year, he spent much of his time persuading institutions to keep their exhibitions open during the fair and to align their programming with Frieze. “We had to do quite a bit of explaining—what Frieze was, why it mattered—because many people simply weren’t familiar with it. But after that first edition, we gained a lot of traction.” Today, all major museums, galleries, and nonprofits save their best programming for that week, contributing to a full-city activation. Notably, Frieze’s own programming is deliberately structured to spotlight a different part of the city each night, encouraging visitors to explore and fully appreciate the richness and growing diversity of Seoul’s art scene.
Lee also notes that Seoul Art Week originated as an initiative of the city government, which has since expanded into Korea Art Week, now in its second year and backed by the Ministry of Culture. “That’s been incredibly rewarding,” he says. “It really began with Frieze and Kiaf creating momentum together, and then earning support and enthusiasm from across the entire cultural ecosystem. I’m very grateful that Frieze can be a part of Korea Art Week, playing a role in getting more of the public engaged with art.”
Each year, Frieze shares dates and a venue with Kiaf, South Korea’s longest-running contemporary art fair, founded in 2002 by the Galleries Association of Korea. Although Frieze Seoul was conceived as a partnership with Kiaf, the early days weren’t without tension. Interestingly, during the first edition, most Korean collectors still prioritized Kiaf on opening day—but by the second year, the dynamic had shifted. As Frieze gained visibility and strengthened its brand presence in Korea, collector traffic on opening day leaned increasingly in its direction, raising concerns that Frieze might eclipse the country’s historical fair. Now in their fourth year of cohabitation, the two fairs have learned to coordinate schedules and audience flow, aiming for a more symbiotic relationship. “It’s definitely something we’re continuing to work on,” says Lee. “Crowd control was something we put a lot of effort into. I’d say last year was probably our best yet in terms of managing the flow of people.” He explains that they now stagger VIP arrivals to give each fair its moment—encouraging guests to attend one, then the other, in a carefully timed sequence. While the hourly slot system is still being refined, the results have been promising.
In the beginning, Lee admits how his focus was squarely on making Frieze a success. “In those first few years, launching the fair and getting it off the ground took everything we had—we were pouring all our energy into delivering strong programming and executing the vision,” he says. “My belief was always that if Frieze succeeded, everyone would benefit, including Kiaf. I’ve always included them in the conversation, because we’ve been building this together.”
Over time, however, the relationship has deepened, and the fairs now collaborate on joint programming. According to Lee, they’re currently in negotiations to extend the partnership. “Nothing has been signed yet, but that’s the direction we’re heading in,” he notes, emphasizing the importance of maintaining a relationship with the Galleries Association of Korea, which runs Kiaf. “It’s a large and diverse group, so any decision like this requires broad consensus from that community. It can be a complex process, but I’m very grateful there’s been real goodwill on both sides.”
Frieze Seoul is the only fair in the Frieze portfolio based in Asia, and it quickly cemented itself as a major player in the region’s art ecosystem, with some speculating it could rival Art Basel Hong Kong. But Lee is quick to dismiss the idea of a zero-sum rivalry. Asia, he emphasizes, is vast and diverse, with ample room for multiple fairs to thrive. Still, from the beginning, he prioritized focusing on Asia and ensuring strong representation from the region’s most compelling galleries.
“It was really important to me that Frieze Seoul had its own character and its own identity. I didn’t want it to feel like just another edition of Frieze,” he explains. About 35 percent of the participating galleries were from Asia in its first year. That figure has grown steadily, and at Frieze Seoul 2025, Asian galleries make up 64 percent of the roster—a sharp rise from 48 percent in 2024—underscoring the fair’s deepening commitment to regional representation. “Of course, our ‘Focus Asia’ section helped, but beyond that, more and more galleries from the region have come to see Frieze Seoul as something bigger than just a regional fair. It’s drawing an incredible audience.”
This year, Lee expects more institutional attendance than ever before. He sees multiple factors driving that growth, but notes that many are drawn both by the strength of the fair and a genuine attraction for the city. “Seoul is a dynamic city in an amazing country, with excellent infrastructure and so much to see, but today we’re also an Asian hub,” he says. “We’re seeing strong collector turnout from Japan, Southeast Asia and China as it reopens. That’s incredibly important to me.”
This edition also marks the debut of Frieze House, a year-round space for gallery pop-ups, inspired by the success of Frieze’s N.9 Cork Street in London. “I see Frieze House as a year-round platform that reflects the same ethos as Frieze Seoul—supporting galleries, artists and creative communities,” Lee explains. But the program will go beyond traditional gallery shows, he clarifies: in addition to group exhibitions, the space will host presentations by architects, filmmakers, and other creative voices. “It’ll be more dynamic than the version in London, more reflective of the energy and diversity of Seoul.”
Though it took years to find and secure, the building itself has a rich history, strong character, and the right scale. “The conversations we’ve been having around it have been very positive,” Lee confirms. Many galleries are eager to engage with Korean collectors and cultivate longer-term relationships with them.
Still, while last year Frieze Seoul opened a day ahead of the Armory Show in New York, this year the two fairs align exactly—forcing an awkward choice for galleries, collectors, and art professionals over which region to prioritize. Lee notes the overlap wasn’t intentional and says they’re working to avoid it next year. “It’s a matter of venue availability—especially with the Armory at the Javits Center.”
Lee remains confident that people will travel, and expects this year’s audience to reach well beyond the region. Still, his primary focus is creating a platform for Asian galleries to connect with a broader international audience than they might at home. “Of course, sales are important, but long-term success often comes from the broader engagement a fair enables,” reflects Lee, who brings experience from the gallery world. “To me, the heart of the job is facilitating meaningful connections and conversations. If I can do that, I’ve done something valuable for the galleries.”
Some Western exhibitors have opted out this year, as a few did last year, citing a dip in enthusiasm from local collectors compared to the fair’s debut editions. After all, Frieze’s arrival coincided with a market boom in Korea, when collectors were highly active and aggressively buying. Since then, momentum has cooled. In 2024, South Korea’s art market reportedly contracted by 15 percent. Yet even after a year marked by political turbulence and economic uncertainty, Lee remains optimistic about the health of the Korean art scene.
The collectors who fueled the initial boom often treated art like stock; they focused on auctions and quick flips, and the system won’t miss them. Meanwhile, government and institutional support remains strong, as power dealer Tina Kim also confirmed in a recent interview, and a wave of new museums and cultural spaces continues to energize the landscape.
“A lot of those young collectors seemed to think the art market was synonymous with auctions…that auctions were the ultimate reference point,” Lee says. “And while auctions are certainly part of the ecosystem, they’re not the whole picture. I think that perception has really died down now, and honestly, I don’t see that as a bad thing.” He hopes that some of these investment-minded collectors will start to understand the role of primary galleries and begin to see themselves as patrons. “That would be a meaningful shift. Buying from galleries supports artists in a much more direct and sustainable way, helping to build careers. I believe that shift is beginning to happen, although it takes time.”
Korean collectors, Lee observes, are remarkably loyal, curious and eager to learn. They take their time and engage deeply. “I think any gallery working in Korea would tell you the same. There’s a real willingness to have conversations, study and grow.” That, he reflects, is the proper role of fairs like Frieze Seoul and Kiaf: to create opportunities for younger collectors to engage, explore, and learn. On the other hand, emerging galleries have a responsibility to educate and nurture that audience. “We’re seeing that dynamic evolve,” he notes.
Lee does acknowledge that the economic climate isn’t what it was when Frieze Seoul first launched. This year has brought new challenges, including the presidential impeachment and new tariffs, but the energy, he insists, hasn’t disappeared. “Collectors are still active, institutions are active,” he affirms. The global market has changed—there’s less urgency—but strong work continues to sell.
Especially in this more uncertain landscape, Lee’s priority is supporting galleries, bringing top-tier VIPs and institutional guests to Seoul and facilitating meaningful connections. “It’s about creating the right environment—getting the right people to stay, to spend time at the fair, and to have meaningful interactions,” he says. “At the end of the day, that’s the role of an art fair: to be a platform for connection.” Galleries are the beating heart of any fair—they bring the work, represent the artists, promote their practices and forge critical links with curators, consultants, institutions and collectors. “My job is to facilitate those conversations and bring the right people together,” he emphasizes. “Ultimately, it’s about maximizing the quality and diversity of the audience for the benefit of the galleries. That’s the priority.”
Frieze Seoul returns to COEX Center with its fourth edition from September 3-6, 2025.