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“Roppongi Crossing,” which opened last weekend at the Mori Art Museum, is a smorgasbord of an exhibition, with work by 60 artists and designers from across Japan.

To be fair, though, it’s more sophisticated than a mere smorgasbord — it’s more like postmodern kaiseki (a refined cuisine featuring a wide variety of carefully balanced small dishes). But as “Roppongi Crossing” really fills you up, let’s get oxymoronic and describe this feast for the eyes as “all-you-can-eat kaiseki.”

The exhibition follows “Happiness,” the show that inaugurated MAM and attracted some 700,000 visitors over its almost 100-day run, making it the most popular exhibition predominantly devoted to contemporary art anywhere in the world this winter.

But whereas the “Happiness” theme lent itself to a carnival atmosphere, here the works, united only by the catch-all subtitle “New Visions in Contemporary Art,” do sometimes impinge on each other. Literally so. Stepping back to take in one piece from a distance, the viewer runs the risk of tripping over another. Somewhere in the planning for this show, “using the total space” became “totally using up the space” — which is ironic in a country with an aesthetic based on what’s known as “negative space.”

Another minor complaint: the exhibition’s entranceway, designed by eco-architect Shigeru Ban. Although I am a great fan of Ban’s sleek and transparent style, and his work designing shelters for refugees in Africa, his recycled PET-bottle arch just does not work at MAM. It looks too much like the product of an arts-and-crafts class. Dated 2002, “Plastic Bottle Sculpture” is not a site-specific design, which an entranceway, especially, should be.

Carping aside, though, I really liked this show. There is an adventurous vibe here; there is much to explore, sights and sounds galore. Nobody will be bored — not even children or those unaccustomed to visiting museums.

It’s not practical to list all 60 participants, many of whom will be familiar to followers of Japanese contemporary art, though even cognescenti will doubtless encounter some artists’ work for the first time.

One of my favorite pieces here is Makoto Aida’s wall-covering painting of a titanic nude schoolgirl staring brazenly forward as behind her a typical Japanese home is upended by a giant pink subterranean drill bit.

For about 10 years, Aida has been “the next big thing.” The only explanation I can offer for why he was eclipsed by the trio of Takashi Murakami, Yoshitomo Nara and Mariko Mori being that he shies away from attention, always looking like he wants desperately to bolt from the room. Plus he’s scruffy. If there is such a thing as being “too good” then that is Aida: His work is hard-hitting, shocking even, the execution breathtaking and, most importantly — he is constantly exploring new subject matter, media and styles.

Murakami, Nara and Mori are conspicuous by their absence, especially since Kenji Yanobe, Hanayo and several other internationally established artists are here. It is probably reverse-nepotism that has kept Mori out of the first two MAM shows (she would have fitted in both). Her partner Ken Ikeda, however, has contributed a video installation.

Naoya Hatakeyama has pictures of explosions, Taro Shinoda has a toy helicopter visitors can fly, and Kyoko Murase’s paintings of floating young girls spill off the canvas and paper and onto the walls — wonderful.

Japanese contemporary art can sometimes get predictable, and there is work in the show that harps on familiar themes such as apartness, cuteness and obsession — but there is also plenty here with something new and interesting to communicate.

Incidentally, I have to wonder if the exhibition subtitle, “New Visions in Contemporary Japanese Art” will peeve the folks over at the Ueno Royal Museum, who for a decade now have run an annual juried group exhibition called “Visions of Contemporary Art,” which opens March 13. VOCA has always been touted as the place to see the best new Japanese artists, and is one of the few exhibitions in this country that offers awards to artists.

MAM will also award three prizes in the closing days of “Roppongi Crossing”: an International Prize, selected by the bigwigs on MAM’s International Advisory Committee; a Member’s Prize selected by MAM members; and a People’s Prize, to be determined by ballots available to everyone who visits the exhibition.

The sums to be awarded have yet to be announced, but MAM Director David Elliott relished informing me that the International Prize and the People’s Prize would be equal in value. He winced when I called him a socialist, saying he preferred the term “populist.”

With a wide range of public programs scheduled throughout the run of “Roppongi Crossing,” MAM does indeed look populist. Certainly, this is not a staid or snobby place — the vernissage was overflowing with boisterous bons vivants, and I saw one of the artists, curiously shoeless, slumped back and passed out in a chair. He was fine later, after a breath of fresh air — which, come to think of it, is exactly what MAM has brought to Tokyo’s art scene.

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