The aim of this study is to closely examine the works of the “Feminist Artists Group IPGIM” in the context of Contemporary Korean Art and the arts of glocal era. IPGIM was created by 8 woman artists in their 30s in 1997 when Korean women culture movement was at its height. Its founders, Kwak Eunsook, Kim Myungjin, Rhu Junhwa, Woo Shinhee, Yoon Heesu, Jung Jungyeob, Je Miran, and Ha Insun, showed exceptional works in practicing art by temporary solidarity with feminist identity in the 2000s. IPGIM was active in various ways pursuing characteristics of feminist art, activist art, project art and art as public intervention. This study examines the subject, perfunctory design, analysis on aesthetics, as well as the involvement methods and urges on the change of views on woman issues in the Korean society through 4 of the 7 major projects of joint planning, and coproduced: AbanggoongJongmyo Project, Island-Survivor, Disemerging Women, Disemerging Women-Stories of Eumsa. IPGIM challenged the female images as a signifier and the politics of space created by patriarchal Confucian culture through feminist perspective. They have unraveled lives of female individuals with various identities that cross over different time and space into realism by focusing on female body and sexuality, labor, class. IPGIM’s activities connects to feminist art in the 1980s and umbilical cord in one sense, and on the other, progressed by reacting sensitively to changing woman issues through accepting contemporary sensibilities, temporary solidarity, uses of various media and so on. Therefore, IPGIM created a unique local feminist art different from the West in the glocal era, and contributed in the contemporary Korean feminist art.