In 1997, she married fellow Korean, Kyu Lee, and moved permanently to the United States. Eventually they arrived in Utah where her husband would become a practicing architect.

Today, besides being a full-time artist, Lee teaches art at Utah Valley State College, a position she thoroughly enjoys. "She's a real advocate for her students," said McEntire.

"Hyunmee was famous in her own country," said Meri DeCaria, director of Phillips Gallery. "Her openings were main events. Unfortunately, she is still relatively unknown here."

Something these two exhibits should quickly remedy. (For an excellent recounting of Lee's background, influences and ideas, read Jim Edwards' essay in the exhibition catalog at the UMFA.)

Those who see Lee's work and are confused as to its meaning must momentarily let go of Western narrative painting preconceptions.

"Abstract art can be difficult for some viewers to understand," said Lee. "But the abstract is the only way I can express my work."

So get up close — real close — and relish how the paint rests lightly atop the goose pimples of the canvas one moment then rises, thickly and energetically the next. Stand back — far back — and drink in the design and its deceptive sense of randomness and the impact of nuance.

Finally, at the risk of sounding maudlin, it somehow feels right that as Utah has recently lost a noted abstract expressionist with the passing of Lee Deffebach, it has gained another.

One Lee has left, another has arrived.

Perhaps there is a Tao balance after all.

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E-mail: gag@desnews.com