This article aims to explain how the artist Yunchul Kim's work can be understood using Heideggerian concepts of Zuhandenheit and Vorhandenheit in the context of object-oriented ontology. Object-oriented ontology is a branch of thought that belongs to the new materialism. Object-oriented ontologists try to understand the world in the context of objects and objects only. To acquire some level of meaning, an object must form a network between the subject and the object. In this case, the art objects made by Kim must form networks or intra-action with the subject's knowledge, memories and experiences. This makes Kim's art constantly change its form and meaning according to the world around it, thus following Tim Ingold's concept of “thing thinging in the worlding world” and pulsating between Zuhandenheit and Vorhandenheit. These characteristics make Kim's objects a form of “fluid art” that ceaselessly transforms and re-transforms. In fluid art, the dichotomy between subject/object tends to be nullified.