His works produced in New York reflect his engagement with the time's political and cultural movement addressing the systemic marginalization of minority groups and questioning issues surrounding race and identity.
Bahc's chronic health issues posed difficulties for him attending high school, especially participating in the military training that was compulsory at the time.
[7]: 48–49 There he renovates what was previously a warehouse into studio spaces with fellow Korean artists and Pratt Institute alumni Sung Ho Choi and Il Lee.
[8]: 23 Bahc saw many of the alternative spaces of the time to have assimilated into the capitalist system by "[functioning] just as nurseries for the commercial dealers," pointing out that many were celebrating their accomplishments by naming artists who have since become respected by the major art scene.
Located at 1073 Manhattan Ave, Minor Injury sought out its audience amongst Greenpoint's residents, who were predominantly Polish immigrants, and operated by volunteers to minimize its dependency on outside funding.
"[11] These criteria were not set to simply promote artists of specific identities but to present the minor, social, political, and personal voices that were marginalized or excluded from the mainstream.
Speaking English (1990) and Exotic-Minority-Oriental (1990) are examples in which Bahc put together a kitsch take on Korean traditional calligraphy with Western vernacular images, teasing out underlying linguistic codes and sociopolitical power structures.
In Three Star Show (1994) and Trinity (1994), neither of the two works' visual imagery nor their titles signify towards its painting materials: coffee, coke, and soy sauce.
[19]: 121, 123 Homo Identropous (1994), rendering a figure sitting upon a divided table, has been considered his final point in addressing the continued yet futile search for one's identity.
Bahc was among the artists and art students who acted as overseas correspondents while studying abroad during the late 1980s and early 1990s, sending art-related news to outlets in Korea.
Having set up a study group among his close Korean associates, the members took turns in selecting, translating, and discussing texts, such as Fredrick Jameson's "Postmodernism and Consumer Society" (1983) and Allan Sekula's "Dismantling Modernism, Reinventing Documentary" (1976).
[8]: 24 Bahc was invited to teach at the newly opening Samsung Art and Design Institute (SADI), while he and curator Young-Chul Lee had been preparing a residency program in New York for Korean artists.
Each issue, whose theme and content were not to be intervened by the publisher or sponsoring organization, allotted an equal amount of pages between contemporary arts and visual culture.
The course introduced the practice of keeping daybooks, also a core concept at Parsons, which trained students to visualize their thoughts by habitual sketching and writing.
Bahc's emphasis on drawing as part of the core curriculum at SADI was also to encourage its students to move away from their college prep training and instead learn to foster self-expression.
World's Top Ten Tallest Structures in 2010 (2003), and Venice Biennale (2003) rendered monumental buildings fragile and disreputable, destabilizing their signs of authority, achievements, and ambitions.