Seung-taek Lee

Goldsworthy similarly works with natural materials such as stones, leaves, and ice to explore transience and the forces of nature, creating site specific sculptures and installations that share a deep conceptual kinship with Lee's engagement with natural elements.

Long uses walking, stones, and elemental materials to create conceptual works that blur the boundaries between sculpture, performance, and landscape, resonating strongly with Lee's use of natural forces and unconventional mediums.

Ono's early conceptual and instruction based works engage invisible forces, audience participation, and the dematerialization of the art object, reflecting a parallel avant garde sensibility to Lee's experimental practice across installation and performance.

Duchamp's radical questioning of what constitutes art and his use of everyday objects as conceptual vehicles laid essential groundwork that informed Lee's own dismantling of traditional sculptural conventions and material hierarchies.

Beuys expanded the definition of sculpture to include energy, process, and natural materials, a philosophical approach that parallels and likely influenced Lee's incorporation of wind, rope, and invisible forces as artistic mediums.

As a fellow Korean avant garde pioneer who broke conventional boundaries between art forms, Paik provided a context and precedent within which Lee's own experimental and conceptual strategies could develop and gain international recognition.