The exhibition is structured around two main frameworks. The first involves caring for the Korean Pavilion from both spatial and temporal perspectives. The goal was to illuminate the architectural origins of the pavilion and reveal the stories embedded within it. Akin to affixing a nameplate to a house or captions to artworks, the curatorial team has installed plaques throughout the structure, identifying the architecture. Captions were provided not only for basic architectural information—such as who designed the pavilion and when it was completed—but also for the surrounding trees that played a foundational role in shaping its form. Within the exhibition space, previously rarely shown representations of the underground and rooftop levels are presented through plans and sections, as well as the layout with surrounding vegetation. These representations illustrate the interconnected and reciprocal relationships that run through the structure. A documentation video, compiled from the materials in the Korean Pavilion’s architectural archive, captures the past, present, and future of the pavilion. Various entities, including the toad from the title, appear in the video to offer the narratives of this place from multiple perspectives.

The second element of the exhibition is the commissioned works by participating artists. Four architects are invited by the curatorial team to read the archive and engage in a process of unbuilding and reassembling the pavilion in order to reveal its overlooked values and meanings. Rather than centering on questions of national identity—an issue historically central to the Korean Pavilion—the invited artists shift their focus to the shared physical foundations that both conditioned and motivated its establishment. The commissioned works do not physically alter the structure; instead, they operate as speculative narratives, awakening and amplifying the existence of the pavilion.