Kang involved in a new group called ‘Shin Jun’(New Exhibition) consisting of Kukjin Kang, Inhwan Kim, Chanseung Jung, Sunhee Shim, Duksoo Yang and Kangja Jung, as well as participated in ‘Chungnyun jakka yeunlipjun’ with group ‘Mu’ (Zero) (art group of 63rd graduates from Hongik University consisting of Youngja Kim, Bokchul Mun, Taehyun Lee, Boonghyun Choi, Dan Lim or Myungjin Lim and Iksang Jin) and group ‘Origin’ (art graduate class of 64th from Hongik University, consisting of Sooik Kim, Seungwon Seo, Kiok Shin, Sangrak Lee, Seungjo Lee, Changhong Choi, Jongsub Ham etc.) Also, the seminar for the particular exhibition was carried out by Il Lee, Hoon Kim and Myungjin Lim under the title “Trend and movement after the world of Abstract art”, and happening performance Vinyl umbrella and candle was performed. This endeavor wasn’t recognized at the time to be a historic breakthrough, although it was more than worthy for it due to its suggestion of future paths of Korean art world which concentrated on Abstract Expressionism to receive ‘avant-garde’, even in the late 60s.
Kukjin Kang’s ‘Chungnyun jakka yeunlipjun’ (Exhibition of young artist’s union) installation featured several works: a number of glass bottles stacked on each other, overall named The joy of Vision; another piece was The Vision of today, a glass bottle hung with a string from ceiling; and Just Today for which he had a vinyl tube with an eye figure attached to it and another later of vinyl tube with 2 rubber balls. Such readymade composition-the product of modern civilization and industrial systems-was to portray our way of seeing, protean visual features, which concurrently had optimistic, delightful vision and sensitivity.
Kang performed Vinyl Tube spouting out watercolor on the opening day of the exhibition (11 December). The performance consisted of repertoire of dissipating colored water by bursting an elongated vinyl tube in which another watercolor tube was inserted. The flashy moment of dissipation meant emancipation from repression and discovery of the outcome of dissipation of colors and the visual beauty of it previously veiled behind mere contingency.
In January 1968, Kang presented the country’s yet another first: The Vision I, II in ‘Jonghap Misool Daejun’ (Total Art Exhibition). It was first in the sense that no one had ever tried such technology art as his. It featured powerful red and blue fluorescent lights forming a hexahedron the work manifested our world moving into a new era, enabling people to experience unprecedented visual scenes. In May that year, Kang and Chanseung Jung jointly introduced technology art for the first time in the country, named at the exhibition of ‘Jonghap Misool Daejun’, and performed Feast of color vinyl. In June, he performed Transparent balloon and Nude Happening and Hwatoo game at ‘C’est si bon’ music Hall, an independent music hall in Seoul, and four months later in October, Kang both organized and participated in Murder at the Han-riverside performance for which Kang himself as well as Kangja Jung and Chanseung Jung not only expressed their criticism of the established civilization and reality.

After ‘Chungnyun jakka yeunlipjun’ (1967), Kang, Chanseung Jung and Kangja Jung from ‘Shin Jun’ group carried out more happenings and performance art. But Kang also provided a workplace called “Space Designer” with Jongmu Park in Myung dong where they also ran cafe, the interior design of it and shop windows for 4 years before moving to Hapjung dong. The year his mother passes away on May 17(1971), he opened the country’s first print art studio in Hapjung dong, for which he sought printing tools and materials with Kulim Kim and Chanseung Jung. He also made his own pressing machine and invited Sangyoo Kim, Sanguk Lee to teach together, contributing enormously to education of printmaking.
He then concentrated on 3-D and installation art, holding the first personal exhibition (27 September-1st October) at Myungdong gallery in Seoul in 1973 by presenting Interrelation of Forms. It featured cloths, strings, ropes, strips, corrugated cardboards and Korean traditional ‘Dak’ paper, incorporating effect of flatness, the sense of volume and object, and the general physical appearance. During the period between the late 60s to the early next decade, the art world of Korea sensitively reacted to different trends, with many self-styled avant-garde artists arguably shifting from their anachronistic Informel painting paradigm towards 3-D, installation, happening and performance art. At this turbulent time, he held a teaching post at Hongik Junior College (September 1973 February 1979).