Hong Seung Hye’s sixth solo exhibition at Kukje Gallery is a retrospective, after a fashion. Arrayed around K2—one of the Seoul gallery’s spaces—are prints, sculptures, and furniture that co-opt the titles and forms of her earlier works. The stainless steel structure in On & Off (all works 2014), for example, matches a previous sculpture made with red lacquer on wood; both create portraits of teetering, pixilated homes. Color has also drained from Debris, a set of dollhouse-like boxes that break rank with their 2008 forebears, preferring the floor to the wall, and steel to lacquered wood. It would seem that history—at least in Hong’s case—is best viewed in grayscale. Entitled “Reminiscence,” Hong’s show is not a mere exercise in citation. While acknowledging that “the past is fixed,” the Korean artist also has an interest in evolutionary processes, leaving open how earlier artworks may be entailed in future ones. This interest dates as far back as 1997, when Hong began her ongoing “Organic Geometry” series, which explores the permutations of primary digital structures. Echoing the modernists, the artist started by working with the grid, though hers is not a site of transcendental abstraction, but a laboratory for formal experimentation, where pixels …