Min’s installation is composed of seven large beveled mirror panels mounted on the wall.  The artist fixed transparent plastic music records two or three inches from the mirrored panel so the records are reflected on the mirror.  Each record bears a colorful photographic image from an original record jacket.  The installation appears to project a deeper space instead of a series of flat surfaces.  Presenting images from different Asian countries such as Korea, Japan, India, Pakistan, Indonesia, Thailand, Laos, Philippines, Burma and China, Min advocates the pan-Asian cultural identity through music. [paragraph 3]

From a distance, viewers see only 150 clear plastic circles before realizing that they are popular and traditional Asian music records.  The records are randomly placed so that space between them in the mirror reflect images of the viewers.  Every viewer who stands close to Min’s artwork suddenly sees himself or herself in the mirror.  Thus, each person instantly becomes a participant in the artwork as well as a viewer. [paragraph 4]

Min’s choice of record jackets offers a special appeal to Asian viewers and visitors from these nations.  These images invite viewers to connect with their personal memories of their musical culture and earlier lives as immigrants in America.  Many immigrants rely on music to remind them of their homelands and traditions.  The use of words and different alphabets on each record jacket helps the viewer to immediately relate to diverse cultural, ethnic, and linguistic identities. [paragraph 5]

As I was examining individual images of Korea, the sounds and lyrics of the songs flooded my memory and imagination.  Seeing myself in the mirrors made me think about my ethnic and cultural identity and forced me to ask questions like “Where am I from?” and “Who am I in America’s multicultural society?" [paragraph 6]

Min mounted each image on the face of a working clock.  Clock hands, made of clear plastic and telling different times, are barely visible from a distance, which was the artist’s intention.  The clock hands do not interfere with a viewer’s first glance at the records.  The clocks add life to the overall image, like the subtle movement of the human heart in relation to the body.  The continuous movement of clock hands creates the illusion that the records are moving and playing music.  The clock’s implication of time ushers the viewer into their memory trail.  [paragraph 7]

Min’s selection of different records from different Asian countries is based on her conscious decision.  Some of the songs represent the popular musical culture, while others depict traditional music.  Min’s artistic statement suggests that through music people can close the cultural and geographical gaps between nations and supports her political and personal concerns for a cooperative world.  This artwork, like music, serves as a bridge.  The world becomes smaller through music and Min's artistic expression in this mixed media installation embodies the interconnectedness.  [paragraph 8]

Yong Soon Min was born in Korea in 1953, immigrated to America at the age of 7, and grew up in California.  She received her B. F. A. and M. F. A. from the University of California, Berkeley.  Min had numerous national and international exhibitions including shows in the United Kingdom, Canada, the Philippines, South Korea, and the United States.  She has received many awards including the Bellagio Residency from the Rockefeller Foundation and public art commissions in New York and Los Angeles.  She is one of the curators for the Gwangju Biennale 2002, one of South Korea’s most prestigious international art exhibitions.  Currently, Min is an associate professor of studio art at the University of California in Irvine and lives in Los Angeles. [paragraph 9]

The Asia Society Museum is located at 725 Park Avenue at 70th Street in New York City.  Regular hours are from 11 am to 6 pm on Tuesday through Sunday and from 6 pm to 9 pm on Friday .  [paragraph 10]