An Indian woman smeared in colors dances during Holi festival in Mumbai, India, Monday, March 29, 2021. (Photo by Rajanish Kakade/AP Photo)

Couples dance samba as smoke rises from a burning pyrotechnics warehouse in Moscow on June 19 2021. (Photo by Dimitar Dilkoff/AFP Photo)

Members of the public enjoy a tea dance at the Royal Albert Hall in London, United Kingdom on April 12, 2022. (Photo by Sarah Lee/The Guardian)

Revellers dance at a rave party in central Kyiv, Ukraine on August 27, 2022. (Photo by Vladyslav Musiienko/Reuters)

A dancer spits fire during a slum party at Oworonshoki district of Lagos, on November 27, 2021. In Oworonshoki, a poor district of Lagos, Nigeria's economic capital, an emerging artistic dance activists, Ennovate Dance House, is changing the narratives of the slum cummunity. The community which in the past was always in the bad news for cultism, violence and killings, suddenly is attracting tourist attention with a “Slum Party”, a yearly artistic dance festival being used by the group to give life and hope to the inhabitants. (Photo by Pius Utomi Ekpei/AFP Photo)

Meri Nirmala Sari, 11, poses in her traditional costume before a performance August 6, 2002 in Ubud, Bali, Indonesia. Meri dances with the Gunung Sari Peliatan dance group and has become a professional. She started dancing at age 5. (Photo by Paula Bronstein/Getty Images)

A newly-married couple takes a nap before their mass wedding ceremony at the CheongShim Peace World Center in Gapyeong, South Korea, Sunday, February 17, 2013. Some 3,500 South Korean and foreign couples exchanged or reaffirmed marriage vows in the Unification Church's mass wedding arranged by Hak Ja Han Moon, a wife of the late Rev. Sun Myung Moon, the controversial founder of the Unification Church. (Photo by Lee Jin-man/AP Photo)

“Do-Ho Suh addresses issues of identity, memory, and relationships. Son of the famous Korean ink-painter Suh Se-Ok, Do-Ho Suh is a leading figure in the transnational avant-garde generation of Korean artists who came of age in the late 1990s, and his work eloquently represents a dual consciousness between East and West”.

Photo: “Karma” by Do-Ho Suh. Sydney and Walda Besthoff Sculpture Garden, New Orleans Museum of Art, New Orleans, LA. (Photo by Alan Teo)