[4] Nonkkol Coterie served as the basis of Kang's experimental attitudes because it bolstered his relentless pursuit of new artistic modes of expression and new systems of creating/showing work.
After graduating in 1965, Kang launched the collective with his Hongik University colleagues Kim In-hwan, Nam Young-hee, Yang Cheol-mo, Chung Chan-sung, Dae-shin Choi, Han Young-seop.
Nonkkol Art publication included the following articles by artists and critics: “The significance of forming a new generation” by Lee Kyung-sung, “Korean Contemporary Present” by Park Seo-bo, “Conclusion and Starting Point of Creation” by Yoo Jin-sang, “Concrete Abstraction” by Kim Dong-ri, “Maju’s Aesthetic Sovereignty” by Moon Duk-soo, and “The Formative Ideology of the New Generation” by Oh Gwang-su.
Under the section titled “Our Words” a discussion between 7 members of Nokkol about their sentiments about ideas advocated by young artists who experience the Korean war, how to address issues in the art world caused by Informel art and the previous traditional generation, how to channel spirit of the April 19 Revolution and make it spread through social participation, personal and social issues, Pros and cons of contests as a gateway to beginning an artist, the duality of aspirations and despair of prospective artist who enter the field after graduation, how there are More arts programs but administrative issues are still rampant, having to self exhibit if not chosen by curators.
Critic Oh Kwang-su was familiar with them and expressed how the group's system of living and producing work together wasn't out of a youthful reckless abandon, but out of a fierce awareness of the commitment to building solidarity around their artistic ideologies.
[5] In 1967, Kang Kuk-jin created New Exhibition Group (신전공인; Shinjeon Dongin) with Chung Chan-Sung, Jung Kang-ja and others.
As their actions were the first of their kind in the Korean art world, Kang Kuk-jin held seminars or lectures at the same time as each performance.
Critic Yoo Jin-sang gave a lecture preceding the event titled “How to Appreciate Contemporary Art.” After the lecture, the participating artists presented the performance Transparent Balloon and Nude under the label of “Environmental Art and Joint Realization.” With John Cage music playing and lights shining, a man tore off Jung Kang-ja's clothes.
He was interested in exploring ontological issues regarding his own questions and uncertainty about how new forms of art can possibly be received and understood by audiences.
By creating art of the moment, he captured the momentary impulses of his creative acts, without knowing fully how it will turn out or be received.
[8] Kang Kuk-jin showcased his event art in earnest at the Union Exhibition of Young Korean Artists held from December 11–16, 1967.
This object art installation highlighted his interest in the use of industrial materials that were becoming more prevalent in Korean society and his execution of interactive multiples.
[11] In Ornamentation: The Pleasure of Vision and Plastic Bag Spewing Colorful Water; wherein, the finished “work” is never complete, but rather an ongoing process that transformed the orderly exhibition hall into an entropic space.
[13] In addition, Kang participated in the “street demonstration” held before the opening ceremony on the first day of the exhibition to protest against the stagnation of established art institutions.
[14] On December 14, three days after the opening of the exhibition, about 10 Mu Group and Shinjeon artists held a collective event, Happening with Plastic Umbrellas and Candles.
At 7 p.m. on Thursday, May 2, 1968, “A Night of Modern Art and Happenings” (Plate 4) was planned, and Plastic Bag Spewing Colorful Water that was shown at the Korean Young Artists Association Exhibition was carried out again.
Before Kang Kuk Jin's Plastic Bag Spewing Colorful Water event began, a seminar by critic Oh Kwang-soo was held.
In this vein, Kang's abstract printmaking shifted from the more objective finish of machinery to highlighting the performative gestures of his subjective, hand-made effects.
The subject matter of this series included icons of nature of cultural objects, such as Buddha statues, while the background was filled with irregular triangles, squares, circles, or curved lines.
Unlike his other series that focus on formalistic qualities like tone or movement, Light of History took on a narrative-like theme that depicts reality in playful ways.