An exhibition at South Korea's Yeosu Arte Museum. BtheJ/ShutterstockThe word “heritage” generally calls to mind the distant past. Ancient buildings, historic objects or traditions passed down over generations. “Heritage” feels old by definition, but it’s not simply something we inherit. It is something we actively make. What matters is not age but the decision to preserve, display and interpret particular parts of culture as meaningful. Researchers have long argued that heritage is created through social and political processes rather than discovered fully formed. Professor of heritage and museum studies Laurajane Smith, for example, describes heritage as a cultural process rather than a set of old things.South Korea offers a clear example of how this shift is playing out today. Forms of popular culture that still feel contemporary – including music, television and fashion – are increasingly entering museums and cultural institutions. Rather than waiting decades to be recognised as historically important, they are being treated as heritage in real time.This challenges the idea that heritage naturally emerges from the past. Instead, it shows how heritage is shaped by present-day choices.This article is part of our State of the Arts series. These articles tackle the challenges of the arts and heritage industry – and celebrate the wins, too.For much of the 20th century, heritage institutions focused on age, tradition and permanence. Museums prioritised monuments, fine art and objects connected to political or national history. Everyday life and popular culture were often seen as too ordinary, too commercial or too temporary to preserve. This distinction has been questioned by museum and heritage researchers. Studies of museum collecting practices show that heritage is always selective and reflects contemporary values and power structures rather than neutral historical importance. Smith’s concept of “authorised heritage discourse” explains how institutions define what counts as heritage and what does not.Even so, for many people “heritage” still carries an aura of distance. It is associated with what has survived time, rather than what is happening now.What has changed is how quickly museums are responding to contemporary culture. Internationally, museums have increasingly collected popular music, film, fashion and everyday objects. The Victoria and Albert Museum’s work on contemporary fashion and popular music collections is one prominent example. In the US, the Smithsonian Institution has similarly expanded its collecting to include popular culture and everyday life.Korean popular culture in heritage spacesKorean popular culture makes this shift especially visible. The global success of K-pop, television dramas, film and fashion has drawn attention to contemporary Korean culture both within South Korea and internationally. This global circulation is often described as the “Korean Wave” or Hallyu.In response, museums and cultural centres have begun collecting and exhibiting these cultural forms alongside more established historical material. K-pop costumes have been displayed in museum exhibitions as material evidence of changing aesthetics, performance labour and global cultural exchange, including at the National Museum of Korean Contemporary History. Television dramas are represented through sets, props and production materials that document how these programmes are made and consumed. The National Folk Museum of Korea. Richie Chan/Shutterstock Food culture and domestic interiors are also increasingly framed as heritage. The National Folk Museum of Korea has expanded its exhibitions on modern and contemporary daily life, including housing, food-ways and consumer culture.What is striking is how recent many of these objects and practices are. They are not relics from a distant past. They are things people still watch, wear, eat and listen to. By bringing them into museums, institutions are effectively declaring their cultural value in the present.When popular culture enters a heritage space, it changes. Objects are removed from everyday circulation and placed within interpretive frameworks that encourage visitors to see them differently. Exhibition texts, display choices and narratives guide audiences towards particular meanings, such as creativity, national identity or global influence.Research on museum interpretation shows that these framing decisions are central to how visitors understand cultural value. Korean museums show how quickly this process can happen. Popular culture does not need to age into heritage. It can be made heritage through institutional recognition.This does not mean everything popular is preserved. Selection remains central. Certain artists, styles and narratives are chosen, while others are excluded. Research on museum collecting has highlighted how gaps and silences are produced alongside preservation.Who decides what is remembered?The move towards contemporary heritage raises important questions about authority. Museums, government bodies and cultural organisations all influence what is collected and displayed. In South Korea, heritage decisions are closely tied to cultural policy, tourism and international cultural promotion, as outlined in government cultural policy documents.Audiences also play a role. Exhibitions focused on popular culture often attract visitors who might not usually engage with museums. Research on visitor engagement shows that popular culture exhibitions are often designed to be immersive and accessible, reshaping expectations of what heritage looks like and who it is for. At the same time, making heritage in the present carries risks. Not all voices are equally represented. Less visible or less marketable forms of culture may be overlooked, even as heritage appears to become more inclusive.Looking at contemporary Korean culture helps make a broader point. Heritage is no longer confined to the distant past. It is increasingly shaped by the present and reflects what societies value now, not just what they inherit. Recognising this does not diminish the importance of preserving historical sites and objects. Instead, it offers a clearer understanding of heritage as an active process. What we choose to collect, display and remember says as much about today as it does about yesterday.In a world saturated with popular culture, heritage is no longer something we wait for. It is something we are making all the time.Anna Stein does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.