In his current roles operating Mediabus and The Book Society, Lim is involved in planning and producing publications centering largely around art and design. His projects not only include regularly produced publications like the recently released Public Document 3, but also encompass irregular publications in the form of zines, and even include organizing exhibitions on the topic of independent publishing, such as Timber! (Art Space Pool, 2014). He first became interested in publishing activities through the 2006 Busan Biennial, and has since been steadily engaged in various experiments that utilize and exploit the basic mechanism of publishing. 
 
From Publishing to Archive, Expanding Its Meaning
 
“Publication” began to be discussed in earnest as a legitimate art form in art history along with the emergence of Conceptual Art in the mid-20th century. In 1966, Mel Bochner organized the exhibition, Working Drawings And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art, which comprised only a few drawings and documents, and Seth Siegelaub utilized Xerox printing to present the works of seven conceptual artists in Xerox Book (1968). Of course, prior to these endeavors, a number of artists had rejected conventional art trends and expressed radical artistic viewpoints through the use of publications. Consequently, when analyzing the resulting outcomes of publishing, we should clearly differentiate our aesthetic perception according to the specific production date and form of the work(s) at hand. 
 
If so, how should we view the recent phenomenon of rising interest in publishing activities and archives in Korea? Today, the archive has become an intriguing subject not only for archivists, but also for artists and curators, among others. Artists realize their artworks based on archival materials on a certain subject, and curators not only use archival materials at the stage of planning exhibitions, but also bring these materials into the actual exhibition space. The interest in archives has not been limited to Korea’s borders. In the case of Hong Kong’s Asia Art Archive (AAA), the organization has actively engaged in the research and collection of contemporary Asian art materials and documents, drawing a new topography of Asian archives. Lim noted that the meaning of “classifying materials” not only connotes the performative aspect of archiving, but also writes art history anew, and that power is generated through this process. As well, he pointed out that one cannot overlook the political reasons that many art institutions (both at home and abroad) could have for collecting and cataloging materials. 
 
The Function of Sharing on Behalf of the Community 
 
As the production of publications in art has increased, the sheer variety of publications has increased as well. Examples of these include “book art” works, “book sculptures,”  “artist’s books,” and “zines.” From these examples, Lim introduced several interesting cases involving zines. He explained that the zine format is useful for easily circulating information about a certain subject, and he gave several examples of early projects related to the subject, including Small Packet Zine Fair (2007) and Zine Making Workshop (2008). Additionally, he introduced the concept of the “infoshop.” Although the infoshop format has not yet gained traction in Korea, infoshops operate actively among local communities in other countries as spaces where residents can voluntarily share and disseminate information. Lim Kyung Yong advised the Workshop participants to consider the publication of open-structure printed materials outside of the conventional leaflet and catalogue formats such as the zine and infoshop?as the