In the 1960s and 1970s, the abstract art blossomed fully and the public art of government was actively producted. The May 16 military government carried out reform on the National Art Exhibition, to retire the senior artists who held on to the old way of figurative art and expand opportunities for young avant-garde artists. The style of art informel, adopted from the Western art in protest of the feudalism in the Korean society, became the symbol of revolution and was given the same tasks with those of Park’s regime: growth, construction and progress. In the 1970s, the emphasis was put on history and tradition to strengthen the national identity and unity. Park’s regime led the production of ‘Documentary paintings(민족기록화)’ and public sculptures to bring to light the part of history or tradition that supported the national ideology. His ideology was also fully reflected in the National Art Exhibition. The movement of monochrome paintings emerged in Korea during the Yushin era and it helped the active development and use of the traditional thoughts and art media and materials that led to the establishment of the Korean modernism which resembles the discourse in the Korean democracy. ‘Art informel’ and ‘Monochrome paintings’ are, above all, from a pure perspective of art history, considered as one of the achievements of the Korean modern art, for they were developed in the efforts to keep pace with the international trends, as well as to adhere to Korea’s national identity. If art is viewed only in relations with politics, it may lead to mistake of overlooking its importance from a pure view of art history. However, it is difficult to discuss the Korean art in the 1960s and 1970s without connecting it with the regime’ s awareness and policies of culture and arts, as it was a turbulent period that everything was caught in a maelstrom of political ideology.