One year after The National Art Center, Tokyo, and the Mori Art Museum presented the expansive "Sunshower: Contemporary Art From Southeast Asia 1980s to Now," The National Museum of Modern Art, Tokyo, (MOMAT) has unveiled "Awakenings: Art in Society in Asia 1960s-1990s." Both projects were ...

If you want someone to blame for Banksy's stunt of shredding "Girl With Balloon" after selling it for $1.4 million at auction, your prime suspect currently has a major retrospective at the Tokyo National Museum. Skepticism of the British graffiti artist's aesthetic value may not ...

A stupendous full autumn moon, bright orange and fat, flashes intermittently between the nondescript high-rise flats and offices on the drive to Charles de Gaulle Airport. It's an apt and beautiful reminder of one of the events that we, a group of Tokyo-based editors ...

Among Sengai's many depictions of tubby old men enjoying themselves is one outlier titled "An Old Man's Excuse," which shows a crotchety grump saying, "If it comes time for you to die, then it's good for you to die, but it's even better if ...

The current exhibition at Archi-Depot, "A Gaze into Architecture: Phases of Contemporary Photography and Architecture" features the work of 13 artists, of whom more than half are Japanese. All the work is exceptional.

With a theme of total annihilation and a techno-horror aesthetic, Hiroki Tsukuda's exhibition at Nanzuka sounds like it would be grim, but this isn't the work of a hopeless nihilist.

Where Flemish still-life painters combined fruit, vegetables and flowers that could not normally be picked in the same season, and portrayed them together in an imaginary, but highly realistic pictorial space, Kosemura uses contemporary tools to achieve the same with photographic detail.

While Japan's historical sakoku period of isolation may have limited any contact it had with Sweden what did transpire between the two nations is of historical, scientific and artistic importance.

Bertrand Lavier seems to relish messing with our cognitive dissonance. As the self-taught artist, who originally studied horticulture, put it in a 2016 interview, "Art is a matter of paradoxes on nearly every level."

"I photograph landscape like it's skin" — artist Masako Kakizaki on her "Aonoymous: Full Circle" project