Lee Dammy’s installation, which begins at the entrance of the Korean Pavilion, holds symbolic significance as a loop that circulates the beginning and end of Little Toad, Little Toad. Overwriting, Overriding brings forth the hidden entities that have silently coexisted with the pavilion, offering an opportunity to reflect on its history. Among the four narrators selected by Lee Dammy are the honey locust tree, standing as a guardian of the Korean Pavilion, and Mucca, the cat who roams the space as if it were its own home. Overwriting, Overriding reveals that the pavilion has been home to broader entities; not only to the architects, curators, artists, or artworks. Through this speculative approach, Lee Dammy re-examines and “overwrites” the Korean Pavilion, inserting hole-like fractures into its established narrative, inviting the audience to step through, much like Alice falling into the rabbit hole of this exhibition.