Characterizing the situation in global contemporary art as that of the quagmire of nihilistic endless 'endgame' of the 'possibility of pervasive fradulence' (in Statley Cavell's words), Kai Hong presents a group of new artists from Korea as representing a new spiritual in art, capable of overcoming the Nihilism pervasive throughout the global institution of the'contemporar' art. The author takes issue with Arthur Danto's (and others like Hal Foster et al of the so-called International Centers of Art in New York and Paris) version of "Art after the End of Art" as intellectually dishonest...