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Over 15,000 visitors have visited the overseas tour of the *Lee Kun-hee Collection*, a donation collection by the late Samsung Group Chairman Lee Kun-hee, at the Smithsonian National Museum of Asian Art (NMAA) in Washington, D.C., within a month. The exhibition showcases 172 items and 297 pieces, including seven National Treasures and 15 Treasures from the National Museum of Korea and the National Museum of Modern and Contemporary Art. This is the largest Korean art special exhibition in North America in more than 40 years. The opening ceremony took place on the 17th, attended by around 200 prominent individuals from the U.S. government and Congress, such as Ambassador to the U.S. Kang Kyung-wha, NMAA Director Chase F. Robinson, former U.S. Ambassador to South Korea Kathleen Stephens, and officials from Congress and the State Department. Initially planned to open in early last month, the event was delayed once due to a federal government shutdown.

The exhibition is called *Korean Treasures: Collected, Cherished, Shared*. Although it is commonly referred to internally as the *Lee Kun-hee Collection*, this name does not appear in the exhibition’s title. However, the panels that describe each section’s theme include quotes from Samsung founder Lee Byung-chul, former Chairman Lee Kun-hee, and Hong Ra-hee, the honorary director of the Leeum Museum of Art, highlighting their love for culture and art. Examples are “Old calligraphy, paintings, and ceramics have been my quiet teachers” (Lee Byung-chul) and “Collecting and preserving cultural heritage is about securing the future of human culture” (Lee Kun-hee). The exhibition is organized around themes such as royal art, Buddhist art, Korean ceramics, and paintings from the Joseon period. Jeong Seon’s *Inwangjesokdo* (Descent of Rain on Mount Inwang), which portrays the moisture on the rocks of Mount Inwang and the mist rising from a valley after summer rains, and Danwon Kim Hong-do’s *Chuseongbudo (Autumn Sound Essay)* have received the most attention, but will only be on display for approximately six weeks until now due to safety concerns.

In his congratulatory address, Director Robinson said, “This exhibition is a reflection of the focus, commitment, and support provided by our museum’s partners and donors. It stands as the most notable Korean art exhibition in North America in the last ten years. We are delighted to be involved in this highly significant event.” The NMAA, which appointed its first Korean curator in its century-long history last year with assistance from the Korea Foundation (KF), also has a unique link to Korea, as Seo Dong-ho’s artwork *Public Figures* has been on display in the museum’s front yard for five years.

Ambassador Kang stated, “It is uncommon to witness Korean cultural treasures, which are highly valued by Koreans, showcased in such a remarkable manner overseas. The artworks here embody the lifelong dedication of the late Chairman Lee Kun-hee. They have now become esteemed national collections of Korea and are being shared with international audiences, inspiring a profound admiration for Korea’s extensive and rich cultural history.” She further noted, “Every time I meet diplomats, government representatives, and local leaders in Washington, D.C., I talk about this exhibition and strongly advise them to visit it personally. The origins of Hallyu (the Korean Wave), which has worldwide appeal across different generations, can be found in the historical and artistic traditions on display here.” Ambassador Kang, who submitted her credentials to U.S. President Donald Trump following her appointment last October, also mentioned, “This is the most joyful occasion since the National Day reception in November.”

The Washington Post (WP) reported on the 20th of last month that the Samsung family contributed more than 23,000 artworks to the country, noting, “The *Lee Kun-hee Collection* has been essential in creating a continuous art historical narrative in a nation divided by Japanese colonial rule and the Korean War. A significant Korean art exhibition is now in the U.S., coinciding with the worldwide appeal of the Netflix film *K-Pop Demon Hunters*.” The exhibition in Washington, D.C., will continue until February 1 of next year, followed by presentations at the Chicago Museum (March 7–July 5, 2026) and the British Museum (September 10, 2026–January 10, 2027). The plan involves rearranging the displayed items and adapting the presentation methods based on the features of each region and host institution.