Minjae Kim and Dominik Tarabański are neighbors in their Brooklyn studio building. They are also friends, their rapport shaped as much by workouts and dinners as by studio visits and exhibitions. Though their practices are very different, Korea-born Kim’s hand-hewn, craftily nonchalant objects belie his background as an architect, while Polish-born photographer Tarabański is best known for his studied floral still lifes. Their collaboration has become something like a double act: the cinematic trope of two “sometimes combustible” protagonists coming together for a mission or trip. With casual self-awareness, they even named a recent joint show with Marta gallery Double Act. Their official collaboration didn’t come out of nowhere: it grew naturally out of their friendship and earlier, smaller exchanges, including Tarabański’s 2025 WSA presentation Roses for Mother, curated by Karen Wong, which featured Kim’s benches as a key design element. Each artist has, in some sense, turned his training against itself, becoming more intimate with his medium in the process. Kim studied architecture at Columbia GSAPP but, frustrated by the field’s time constraints, turned instead to objects. His hand-hewn furnishings retain architecture’s preoccupation with structure and scale, while circulating between collectible design galleries such as The Future Perfect and Nina Johnson, institutions like the Denver Art Museum, and, most recently, Oberon, the restaurant inside OMA’s New Museum expansion. Tarabański’s painterly floral still lifes are often autobiographical, built from the afterlife of more commercial shoots: flowers, plastic bags, clips, gaffer tape, zip ties. Since 2018, he has turned these remnants into intricate studio tableaux that are like sculptural worlds composed into two-dimensional images. The work has been exhibited across the U.S. and Europe, including at the National Philharmonic Hall in Szczecin, Poland, and the Centre for Contemporary Art Zitadelle Spandau in Berlin. Kim and Tarabański’s personalities may be as different as their practices, but in defining a series of key terms for PIN–UP, the logic of their friendship and their shared way of looking at the world comes into focus.