The ‘Propositional Form’ and ‘Liberated Landscape’ series, which are displayed in Gallery Grimson this year, are about the theme that Lee Tae Ryang has been focusing on over the past several years. One artist’s work is abstract painting and the other is landscape painting; the two can be linked in that both abstract painting and landscape painting rely on this concept. In addition, some formative elements, including letters, give the sense of continuity to both series. The ‘Propositional Form’, a somewhat stark philosophical title, and a form of landscape painting that follows much of the framework of the first show, make the audience think that his work may be a game that follows rigid rules such as checkers and chess. Even if art has rules, it does not necessarily signify the reduction to rules. Unlike the laws of nature, rules are made by men and thus can be altered. An exception also occurs within the complementary relationships with rules. In the list of the artist’s many heterogeneous projects, including installation works, what rules or exceptions can we find?