Love Difference, installed in the Hannam district of Seoul with a palette of soft concrete in tandem with stark white walls with rich tonal nuances, presents clashing, flourishing, and playful works with a contemporary edge, a material wonder. While the installation feels ethereal, the format lends itself to a vivid, grand fantasy of love: R.C. Baker uses a copy of The Velvet Underground & Nico, in “Holy of Holies,” for which Andy Warhol was credited as the album’s producer; Brandon Ballengée’s “Frameworks of Absence” meticulously embodies the extinct species’ haunting absence; John Cage, a leading figure of the post-war avant-garde, is featured through a set of thirteen Ryoku, created with the principles of an ancient Chinese divination text, the I Ching; going beyond collaboration to a kind of conspiratorial imagination, Laura Bell and Ian Ganassi’s “The Corpses” has evolved into more than two decades of personal and material call-and-response, with a new batch of collages usually in progress or transit; Ru Marshall’s iPhone photo of a bodega in Brooklyn captures fleeting inquiries of interactive perception; Björn Meyer-Ebrecht’s old book covers are raising expectations, holding authority, hiding secrets, and promising a visionary spirit—remnants from the proverbial “junkyard of history”; Jaye Moon’s “Get That Money” uses 9,216 Lego bricks to reconstruct K-Rap lyrics by Okasian into Braille in number codes; in Janet Taylor Pickett’s “The Liminal,” a voice chimes with Manet’s Olympia. TRANSPACIFIC: Love Difference reminds us that love is all-inclusive.