He takes a meaningful place in Korean contemporary art history as a vanguard who led the concepts of 1970s’ Korean modernism art. It is fair to say that the power of Kim Jang-sup’s photos comes right from his unique style of examination. He produced his early overlapping photos (1991-1995), where two frames are overlapped lopsidedly to leave blurred middle areas, and top-down overlapping photos (1996-2004), which firmly cut beautiful landscape photos in half. Recent left-right overlapping photos, which have slightly changed landscape photos side by side, showing the climax of his ‘study.’ To sum up his artistic attitude during his 30 year style exploration, it is ‘to think about the gap between tradition and modern’. Put simple, it is ‘to have a meeting on one pretty photo’.