提到創作過程，權志龍說：「在做這系列的創作時，我聽著過去的作品，想起每個珍貴的回憶都有歌迷的身影，我原本提筆希望寫下我的感受，卻沒有任何字眼可以真實表達，因此我決定將我的感受視覺化，畫下這每一條花路。這就是我心中VIP的樣子。」此系列作品也將於7月31日起於UNWRAPP官網開放全球限量預購。
韓文的「花路 （?? ）」 一詞象徵著通往幸福的道路，粉絲常用「一起走花路吧！」來比喻與偶像之間的情感連結。而此次命名為《花路》的系列作品，正是本次展覽中的最大亮點，全系列共有7幅油畫作品，畫面中以粉絲作為主角，重現權志龍視角抽象化的粉絲印象。
韓文的「花路 （?? ）」 一詞象徵著通往幸福的道路，粉絲常用「一起走花路吧！」來比喻與偶像之間的情感連結。而此次命名為《花路》的系列作品，正是本次展覽中的最大亮點，全系列共有7幅油畫作品，畫面中以粉絲作為主角，重現權志龍視角抽象化的粉絲印象。
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白南琼作品
以下作品是白南琼最重要的作品，既概述了主要创作时期，又突出了艺术家的最大成就。
机器人K-456（1964）
佩克离开德国后，1964年抵达美国前，他与家人在东京呆了一年，在那里遇到了实验物理和电子专业工程师安倍晋三，安倍晋三成为佩克的长期合作者和技术助理。在日本逗留期间，派克在安倍的帮助下设计了他的第一个自动化机器人K-456。佩克幽默地以莫扎特的钢琴协奏曲B大调第18号命名了这个真人大小的拟人机器人，K.456（一个目录号在Kéchel列表中-一个包含莫扎特作品的编年史目录）。机器人K-456是由零碎的金属、布、数据记录器、行走的轮子和播放肯尼迪演讲的扬声器组成的。这些材料反映了派克对将廉价的一次性物品转变成与新技术相关的审美形式的长期兴趣。机器人最初是雌雄同体的，有乳房和阴茎，通过20个无线电频道和一个遥控器编程行走、交谈和排便。它的物理组成，混合性别的性质，和遥控运动，体现了派克的愿望，人性化机器人，而不隐藏其裸露的骨骼结构和物质下的光泽金属皮肤。
机器人K-456是为街头即兴表演而设计的，Paik回忆道，“我想象它会在街上遇到人们，给他们一个瞬间的惊喜，就像一场突然的表演。”它首先出现在纽约Judson Hall的表演项目Robot Opera（1964）中，与夏洛特·莫曼的大提琴表演一起，在20世纪60年代末的一系列以表演为基础的项目中，机器人于1982年在惠特尼美国艺术博物馆（Whitney Museum of American Art）举办的艺术家首次大型博物馆展览中重新投入使用。有一次，派克带着机器人走出博物馆，在街头策划了一场名为《二十一世纪第一场意外》的表演。这个机器人是被制造出来在麦迪逊大街对面的大楼外面的人行道上行走的。在穿过第75街时，被艺术家威廉·阿纳斯塔西驾驶的汽车撞倒并扔到了人行横道上。当地哥伦比亚广播公司的分支机构报道了这一事件。当哥伦比亚广播公司的记者问佩克这一切意味着什么时，佩克回答说，他正在练习如何应对21世纪的技术灾难。他还指出，机器人已经20岁了，还没有举行成人礼（犹太成人礼）。表演结束时，机器人的“身体”被推进博物馆，既好玩又奢侈。这场街头表演表明，派克并不认为他的作品是惰性和完整的，而是“活”的对象，可以不断地改造和重构。
ARTWORKS BY NAM JUNE PAIK
The below artworks are the most important by Nam June Paik - that both overview the major creative periods, and highlight the greatest achievements by the artist.
Robot K-456 (1964)
After Paik's departure from Germany and before his arrival in the United States in 1964, he spent a year in Tokyo with his family where he met Shuya Abe, an engineer specialized in experimental physics and electronics, who became Paik's long-term collaborator and technical assistant. During the sojourn in Japan, Paik devised his first automated robot, Robot K-456, with Abe's help. Paik humorously named this life-sized anthropomorphic robot after Mozart's piano concerto No. 18 in B-flat major, K. 456 (a catalogue number in the K?chel listing - an inclusive, chronological catalogue of compositions by Mozart). Robot K-456 is made out of bits and pieces of metal, cloth, a data recorder, wheels for walking, and a loudspeaker playing John F. Kennedy's speeches. The materials reflect Paik's long-term interest in transforming cheap, disposable objects into aesthetic forms associated with new technologies. Originally androgynous - with breasts and a penis, the robot was programmed to walk, talk, and defecate beans via twenty radio channels and a remote control. Its physical composition, hybrid-gendered nature, and remote-controlled movement embody Paik's desire to humanize robotics without hiding its bare-bone structure and materiality under the glossy metallic skin.
Robot K-456 was built for impromptu street performances, as Paik recounted, "I imagined it would meet people on the street and give them a split-second surprise, like a sudden show." It was first featured in the performance project Robot Opera (1964) at Judson Hall in New York, alongside Charlotte Moorman's cello performance, and in a series of performance-based projects through the end of the 1960s. In 1982, the robot returned to action during the artist's first major museum exhibition at the Whitney Museum of American Art. At one point of the exhibition, Paik took the robot out of the museum to orchestrate an "accident" on the streets, a performance titled First Accident of the Twenty-First Century. The robot was made to walk up the sidewalk outside the building across Madison Avenue. While crossing 75th Street, it was struck and thrown onto the crosswalk by a car driven by artist William Anastasi. The local CBS affiliate covered the incident. When the CBS reporter asked Paik what it all meant, Paik answered that he was practicing how to cope with the catastrophe of technology in the 21st century. He also noted that the robot was twenty years old and had not had its Bar Mitzvah (the Jewish coming-of-age ceremony) yet. Playful and extravagant, the performance concluded with the "body" of the robot being wheeled into the museum. This street performance demonstrated that Paik did not see his artworks as inert and complete but rather as "living" objects that could be constantly remade and refashioned.
