34-year-old South Korean collector and education entrepreneur Jae Myung Noh began his collecting journey in high school through limited-edition prints and art toys. Today, as founder and director of ART OnO Art Fair, he has become a key driving force in Asia’s art ecosystem. With a collection of nearly 300 works, his practice centres on two parallel priorities: cultivating Art OnO’s cultural identity and supporting emerging artists over the long term.
LARRY’S LIST had a conversation with Jae Myung Noh, who shared about his transition from collector to art fair founder, the curatorial philosophy behind ART OnO, and the future landscape of South Korea’s contemporary art market.

What made you want to start collecting art? What is the main motivation behind your collecting?
My journey into art collecting began during my school years in the U.S., where I was introduced to the world of collectible art through friends. I had always been interested in collecting—whether it was coins, stamps, or sports memorabilia—so moving into art felt like a natural progression. I started with editioned prints and art toys, gradually expanding into contemporary art as my interest deepened. Visiting museums, galleries, and art fairs played a pivotal role in shaping my perspective. These experiences exposed me to a wide range of artists and galleries, deepening my appreciation for art and transforming my casual interest in collecting into a lifelong passion. Over the past 17 years, I have built a collection of nearly 300 artworks, focusing primarily on emerging and mid-career artists working across various mediums and from diverse cultural backgrounds.

What type of art has consistently attracted you, or what theme unites all the works you have acquired?
In my collection, I focus primarily on sculptures, installations, and paintings—though paintings make up the largest portion in terms of numbers. That said, I am especially drawn to sculpture and installation because they have the power to completely transform the atmosphere of a room or exhibition. While I do have works by some blue-chip artists, I find myself most excited by collecting younger, emerging talents—artists who are living and creating in the same era as I am. There is something incredibly rewarding about watching their work evolve over time. When I encounter a masterpiece by an established artist, I absolutely recognize its brilliance, but with younger artists, there is a different kind of connection. Despite coming from different cultures and countries, their work often feels more personal and relatable—more in tune with the world we are all navigating right now.

What factors do you consider when selecting artists? Are you more inclined to support emerging artists, established artists, or both?
While I do collect works by a few established, blue-chip artists, I’m most drawn to supporting younger, emerging talents—those who are creating in the same era as we are.
I find it incredibly fulfilling to follow an artist’s journey, to see how their practice evolves over time. Of course, not every artist in my collection will continue on the same path—some may shift directions or even disappear from the scene entirely.
But that unpredictability is part of what makes collecting emerging artists so meaningful. Their work often feels more immediate, more reflective of the world we’re all experiencing, and that sense of shared time and connection is what resonates with me most.

Art OnO

When did you realize that you wanted to transition from a collector to the founder of an art fair? What prompted this change?
I have always been interested in seeing different approaches within the art world—particularly those that prioritise quality over quantity and embrace true diversity.
As a collector, I noticed a recurring pattern: a strong preference, especially in Asia, for certain types of art—primarily paintings—while many other compelling mediums were often overlooked.  This sparked something in me. It became clear that if I wanted to see a fair that genuinely reflected a broader, more inclusive vision of contemporary art, I would need to initiate myself.  While there were not many people organizing the kind of fair I envisioned, I was confident there were plenty who would be eager to experience it. That belief ultimately led me to launch ART OnO.

What is the mission of Art OnO?
I recognised a gap in the Korean art scene for a platform that fosters more dynamic and meaningful connections between collectors, artists, and galleries.
Art OnO, founded in 2024, was created to prioritise artistic quality and diversity, allowing galleries to present innovative and engaging exhibitions beyond commercial trends.

Can you provide some information about the last Art OnO art fair edition?
Last year’s edition brought together over 40 galleries from diverse regions, including the United States, Germany, France, Japan and Hong Kong, alongside a growing number of Asian participants. This mix reinforced Art OnO’s role as a key platform for international exchange.
Participating galleries included A-Lounge, ARARIO GALLERY, Gallery Baton, Esther Schipper, Galerie Zink, Misako & Rosen, and Peres Projects. First-time participants included Kaikai Kiki Gallery, NINO MIER Gallery, AISHO, Artemin Gallery, CON_, CHAUFFEUR, and NIKA Project Space, further expanding the fair’s international reach.

What are the main differences between ART OnO and other art fairs？
ART OnO prioritises the quality of artworks and gallery programs rather than focusing solely on sales and numbers. Our goal is to create a platform that encourages galleries to present fresh, diverse, and innovative exhibitions, rather than simply following commercial trends.
A key feature is that each artist is represented by only one gallery, avoiding repetition across multiple booths and enhancing the uniqueness of each presentation with a strong curatorial vision and compelling experience for visitors.
More broadly, ART OnO goes beyond being just a marketplace—it is a dynamic hub for discovery, dialogue, and artistic innovation, making it a truly unique presence in Korea’s art scene.

As a collector, what needs or gaps in the art market did you observe that led you to take on the role of organising the fair?
I was often looking for new perspectives, but they were not always easy to find. It was less about the size of a fair and more about encountering presentations that felt distinct and carefully considered. I saw more of this diversity in Europe and the United States, and wanted to bring a similar level of curatorial energy to Asia. ART OnO developed from that intention – to create a platform that supports difference without compromising on quality.

ART OnO runs from April 3-5, 2026, in Seoul.

Instagram: @toys_arts @art_ono_seoul
Related: Art OnO