The painter Adam Himebauch, increasingly known for his performance art, hung some of the work in his own solo show in South Korea, a performative statement pushing back against the haters that tell him to “just paint, dude.”

Himebauch, the Tribeca-based artist formerly known as Hanksy, debuted his show “Here Comes the Twister” at the Gana Art Nineone gallery in Seoul on June 20. The show contains paintings that collectively illustrate the chronological evolution of the tornado.

But during the opening reception, the walls of the gallery remained empty—until Himebauch arrived to put up six of the works himself, stapling the loose-canvas paintings directly onto the walls. In a video shared with Artnet News, Himebauch is seen stretching and doing some light exercise and a little dance to limber up for the install.

Adam Himebauch hanging up his own paintings as a performative statement. Photo courtesy of Gana Art.

When he’s finally ready to begin hanging the works, he grabs a standard stepladder and attempts to ready his staple gun but appears to have legitimate problems with loading it and can be seen nervously smiling until it clicks into place. He begins to hang the works halfway through the 15-minute performance.

After stapling the top of each work to the wall, Himebauch rolls the canvas down and unceremoniously allows the cardboard tubes to thud against the hard floor in the silent room before moving on to the next.

“It went superb and everyone agreed it was incredibly different and unique. Nobody knew what to expect and it was perplexing that the walls were empty and white upon entrance. I danced to the song ‘Fantastic Man’ by William Onyeabor and it went fantastic, man,” Himebauch said in a statement after the performance.

Adam Himebauch dancing during a performance in which he hung up his own paintings. Photo courtesy of Gana Art.

In a press release about the performance, he likened it to Michael Asher’s 1974 exhibition at the Claire S. Copley Gallery in Los Angeles, where the artist removed a wall separating the gallery office from the exhibition, exposing the gallery’s operational reality to the public.

“By integrating painting and performance in the confines of an exhibition setting, Himebauch challenges conventional expectations of what constitutes a ‘painter’ in the public eye,” his team said in the press release.

He noted that comments on social media from his fans telling him to “just paint” are common whenever he engages in artistic endeavors beyond traditional painting. “This underscores a prevalent anticipation for a serious ‘painterly’ identity from an artist primarily recognized for painting, prompting Himebauch to subvert these expectations in multiple ways,” his team said.

Adam Himebauch hanging up his own paintings as a performative statement. Photo courtesy of Gana Art.

Reviewing his own performance after the fact, Himebauch said his favorite part was walking through the crowd with the ladder because it was “very awkward.”

“I had trouble loading the staples into the stapler. It was a Korean model I wasn’t familiar with. You just learn to roll with things because it’s the perceived mishaps that make things unique. Imperfectly perfect,” he added. “Elevating everyday studio rituals into art with a capital A is all a matter of set and setting. Art and life in general is perspective.”

In February, the artist livestreamed a deceptive performance commenting on truth and reality in digital media. That performance, part of the show “Never Ever Land,” involved him claiming to be meditating for a month on a small platform in the middle of Ceysson & Bénétière’s Madison Avenue gallery in New York. He was not, in fact, consistently at the gallery.

“Here Comes the Twister” is on view at Gana Art Nineone, 91 Hannam-daero, Yongsan District, Seoul, South Korea, through July 21.