The usual reasons for the formation of artists' groups are similarities in media, style or philosophy. But the only link for the six members of the "Showa 40" group, who rank among Japan's best contemporary artists, is the year of their births, 1965. There is nothing else distinctly in common among the six, although one can identify threads such as dark humor, gadget fetishism and otaku manga culture running through their work. But the 1965 time post does unite the Showa 40 gang rather well. Their roller coaster of shared history -- rising from the quiet comfort of the post-baby boom to the halcyon optimism of Japan's bubble era before delving into the hikikomori culture of social withdrawal visited on the X Generation -- is, I believe, the reason the Showa 40 artists have found both their unique inspiration and their considerable success.

The Showa 40 all turn 40 years old this year, making them officially "mid-career artists," and the exhibition "40x40 -- Seven Little Samurais +1" is something like the group's birthday present to the next generation of Japanese artists. The show has each of the Showa 40 members introducing one or two of their favorite young artists, and it provides an indication of where they see Japanese art heading.

"Seven Little Samurais" is in the new avant-garde art, food, booze and schmooze space Anpontan in Ginza, and I must digress again and say that this is a fabulous place (if you can find it, as it is well off the beaten path). Anpontan opened on Oct. 28, with a tastefully minimal Champagne and oyster bar on the first floor and a Mediterranean restaurant on the second, along with four floors of white cube galleries and a library. It is the brainchild of owner Hiroshi Matsuo.