This paper will explain, firstly, what circumstances have shaped the reception of the work of North Korean dissident artist Song Byeok and, secondly, how this reception is indicative of the global art market's tendency to commodify political art and artists. This thesis will be a case study that analyzes the transformation in artistic practice and professional status of a former state propagandist who became a political prisoner and is now a defector living in South Korea. Research for this analysis is based on interviews with the artist and his representatives, direct observation of the artist and his work in person, and a review of the existing critical material on Song Byeok. This paper will also provide context through some comparative analysis of his reception in the South Korean and U.S. press, respectively. Through a description of the trajectory of Byeok's career to date, I will trace the changes in his work from his first exhibition in South Korea to his most recent exhibitions. A consideration of how his works may project the artist's professional and creative intentions is crucial to understanding his relationship to the culture of contemporary art.