Naoyoshi Hikosaka (彦坂尚嘉, Hikosaka Naoyoshi, born June 26, 1946, Tokyo) is a Japanese artist and one of the founders of the activist group Bikyōtō. He was an artist-theorist who critiqued Mono-ha, worked in conceptualism in the first half of the 1970s, and turned to painting from the second half of the 1970s onward.

Early life and Tama Art University

Hikosaka's youth was marked by health issues, suffering from tuberculosis and witnessing his younger brother's struggle with cerebral palsy. He experienced hospitalizing bouts of pleurisy and during the long periods of convalescence he read many books such as

Soren Kierkegaard Soren may refer to: *Søren, a given name of Scandinavian origin, also spelled ''Sören'' * Suren (disambiguation), a Persian name also rendered as Soren * 3864 Søren, main belt asteroid *Sōren, also known as ''Chongryon'' and ''Zai-Nihon Chōsen ...

's ''Sickness Unto Death'' demonstrating an early interest in philosophy which would inform his future artistic practice. In his early art education beginning in elementary school, Hikosaka was tutored by the establishment oil painter Kiyohara Keiichi. He also attended night classes in painting taught by Koji Enokura at Suido Bata Academy while he was a high school student. When he entered the oil painting department at

Tama Art University or is a private art university located in Tokyo, Japan. It is known as one of the top art schools in Japan. History The forerunner of Tamabi was Tama Imperial Art School (多摩帝国美術学校, Tama Teikoku Bijutsu Gakkō) founded in 1935 ...

in 1967 he was exposed to

minimalism In visual arts, music and other media, minimalism is an art movement that began in post–World War II in Western art, most strongly with American visual arts in the 1960s and early 1970s. Prominent artists associated with minimalism include Don ...

, experiencing what he calls a “Minimal Shock” that challenged art's material conventions. Along with this radical shift in his perception of art, at the university he also experienced the anti-war, anti-establishment, student protest movements associated with Zenkyoto that had spread all over Japan in the late 1960s. In July 1969 the

students affiliated with the protest movement barricaded the school. In June the student group Zōkeidō, a forerunner of the later Bikyōtō group, organized a Zõkeidō exhibition inside the barricaded school. Hikosaka exhibited works that would inform his later, landmark work, ''Floor Event'' (1970), as well as his wood paintings. These works took three forms, all of which drew attention to the relationship between painting and its environment. The first form of artistic gesture of this exhibition was to stretch the wooden stretcher bars with transparent plastic vinyl so that the wall beneath remained visible when hung. In a second gesture, Hikosaka made a wooden “wall” for the painting by placing a panel of wood beneath the plastic vinyl. For the third gesture, Hikosaka allowed the plastic vinyl to fall to the ground while the piece of wood remained on the wall. While the school was barricaded during the exhibitions, many people were still able to see it such as Haruo Fukuzumi, then editor of Bijutsu Tech ō, and

teachers Yoshishige Saito, Yoshiaki Tono, and Yusuke Nakahara.

Bikyōtō

In July 1969 Bikyōtō, short for Bijutsu Kyoto Kaigi (Artists Joint-Struggle Committee), was founded around Hikosaka and his fellow

friend, Hori Kosai. Other members included

Miyako Ishiuchi , is a Japanese photographer. In 2005, she represented Japan at the Venice Biennale. In March 2014, she became the third Japanese photographer, following Hiroshi Hamaya and Hiroshi Sugimoto, to received the Hasselblad Foundation International Aw ...

and Ryuji Miyamoto. As a part of Bikyōtō, Hikosaka also became acquainted with photographers associated with the photography magazine ''Provoke'' when the two groups shared desk space at Provoke member Koji Taki's design office. Other acquaintances at this time included as Daido Moriyama and

Takuma Nakahira was a Japanese photographer, critic, and theorist. He was a member of the seminal photography collective ''Provoke (magazine), Provoke'', played a central role in developing the theorization of landscape discourse (''fūkei-ron''), and was one of t ...

.Tomii, Reiko. “Revolution in Bikyoto's Photography: Naoyoshi Hikosaka and the Group of Five.” Essay. In ''For a New World to Come'', 148. Houston, TX: The Museum Fine Arts Houston, 2015. However, Bikyōtō suffered disorganization and disbandment in 1970 when the university administration cracked down on the student protestors and when the

Anpo The , more commonly known as the U.S.-Japan Security Treaty in English and as the or just in Japanese, is a treaty that permits the presence of U.S. military bases on Japanese soil, and commits the two nations to defend each other if one or th ...

treaty was extended. Hikosaka became the chief theorist of Bikyōtō and proposed the group become revived as the “ Bikyōtō Revolution Committee.”Tomii, Reiko. “The Impossibility of Anti: A Theoretical Consideration of Bikyōtō.” In ''The Anti-Museum: An Anthology'', 472. Fribourg: Fri Art, 2017. The initial five artists of this committee were Hikosaka, Hori, Nobuo Yamanaka,

Yasunao Tone (b. 1935) is a multi-disciplinary artist born in Tokyo, Japan and working in New York City. He graduated from Chiba University in 1957 with a major in Japanese Literature. An important figure in postwar Japanese art during the sixties, he was acti ...

, and Tajima Renji (influenced by emergent Feminist discourses,

went in her own direction).Tomii, Reiko. “The Impossibility of Anti: A Theoretical Consideration of Bikyōtō.” In ''The Anti-Museum: An Anthology'', 474. Fribourg: Fri Art, 2017. As part of the reformation of the group, Hikosaka theorized a “strategic retreat” away from the overtly political and into the domain of art. Part of this endeavor was to be the first act of the new Bikyōtō Revolution Committee, which organized a series of solo exhibitions outside of galleries or museums in 1970. An important political implication of this “strategic retreat” was the critical reckoning of art as an “internal institution” (uchinaru seido) itself. Therefore, Hikosaka did not conceive of this project as institutional critique in the conventional art historical sense of institutional spaces, but rather proposed to critique the “internal institution” located within the viewer.Tomii, Reiko. “The Impossibility of Anti: A Theoretical Consideration of Bikyōtō.” In ''The Anti-Museum: An Anthology'', 467. Fribourg: Fri Art, 2017.

''Floor Event'' (1970)

It was within this context of the “ Bikyōtō Revolution Committee” that Hikosaka created his landmark work, ''Floor Event'' in 1970. Addressing the internal institution of art beyond the gallery or museum, Hikosaka decided to stage his solo exhibition in his room. Equipped with cans of latex (on which he had spent about 200,000 yen), Hikosaka undressed and proceeded to pour the material to the floor from a bucket and used a hand broom to spread it on the floor. Tone and Hikosaka's artist friend Mikio Koyanagi assisted him in the production of the work, with Tone pressing the shutter of a 35mm camera Hikosaka set up to document the process. Initially, Hikosaka had planned to use plaster, a traditional art material, for this work in order turn the floor of his room white. Hikosaka cites the depression that followed the failure of the first Bikyōtō as artistic inspiration for turning his room white (a color symbolic of death in Japanese culture). However, at the advice of his friend and mentor,

Fluxus Fluxus was an international, interdisciplinary community of artists, composers, designers and poets during the 1960s and 1970s who engaged in experimental art performances which emphasized the artistic process over the finished product. Fluxus ...

affiliated musician

, he decided to use latex instead. Tone's influence on the work also extends further back to the summer of 1969 when Hikosaka joined his

Edmund Husserl , thesis1_title = Beiträge zur Variationsrechnung (Contributions to the Calculus of Variations) , thesis1_url = https://fedora.phaidra.univie.ac.at/fedora/get/o:58535/bdef:Book/view , thesis1_year = 1883 , thesis2_title ...

reading group. Hikosaka's interest in

Husserl , thesis1_title = Beiträge zur Variationsrechnung (Contributions to the Calculus of Variations) , thesis1_url = https://fedora.phaidra.univie.ac.at/fedora/get/o:58535/bdef:Book/view , thesis1_year = 1883 , thesis2_title ...

phenomenology Phenomenology may refer to: Art * Phenomenology (architecture), based on the experience of building materials and their sensory properties Philosophy * Phenomenology (philosophy), a branch of philosophy which studies subjective experiences and a ...

can be seen in his use of artistic devices to frame aspects of ordinary life, what phenomenology scholars call his “phenomenological bracketing.” We may observe such phenomenological bracketing in Hikosaka's use of latex to call attention to the floor, which gradually transformed from an opaque, white coating to a transparent skin as it dried over the course of nine days. Hikosaka's gesture not only had the effect of dissimulation of how we experience the physical ground within ordinary life, it was also a metaphorical gesture that pointed to the way we experience the naturalized epistemological “ground” on which the discourse of art “stands”. Within this gesture, which demands reconsideration of both spatial phenomenology and the theoretical tenets of an artwork simultaneously, the imperative to address the “internal institution” that is at once perceptual and ideological becomes apparent. This effect is accentuated by the photographic documentation which is integral to the work itself. Depicting both the act of making and subsequent reflection upon creation by Hikosaka, the photographs enable the viewer to share the artist's contemplative and phenomenological discovery that unfolds over time. Because the drying slowly renders the latex invisible to the camera, it is only in the relation between discrete exposures that the work is photographically conveyed. The work was positively reviewed by

Jiro Takamatsu was one of the most important postwar Japanese artists. Takamatsu used photography, sculpture, painting, drawing, and performance to fundamentally investigate the philosophical and material conditions of art. Takamatsu's practice was dedicated to t ...

in the July 1971 issue of Bijutsu Tech ō.

Art criticism

From around 1970 onward Hikosaka also began to publish art criticism. He is perhaps most known in this regard for his “Critiquing Lee Ufan—Fascism based on the internal crisis of ‘expression’,” published in ''Dezain Hihyō'' (Design Review) in November of 1970, where he accused Lee of “apolitical mysticism that suppressed human agency amid the crisis of expression in the late 1960s.”''From postwar to postmodern : art in Japan 1945-1989 : primary documents''. Kenji Kajiya, Fumihiko Sumitomo, Michio Hayashi, Doryun Chong. New York. 2012. p. 265. . . Elsewhere Hikosaka has critiqued the material approach of Mono-ha, arguing that it cannot account for differences in information. He argues this by presenting the example of two DVDs, one containing a movie and another which is empty, but which seem to be materially identical. He notes, however, that his famous attack on Lee was not a personal one and that he drank and exhibited with Lee many times. Instead, the critique was one of a general fascism of the time that he saw manifested in Lee's practice. His writing on

Gutai The was a Japanese avant-garde artist group founded in the Hanshin region by young artists under the leadership of the painter Jirō Yoshihara in Ashiya, Japan, in 1954. The group, today one of the most internationally-recognized instances o ...

, a well-known group from the Kansai area, was among the earliest critical texts on them in Japan. In “Beyond the Closed Circle: What Can We Learn From Gutai's Trajectory?” (initially published August, 1973 in Bijutsu Techo), Hikosaka analyzes the practice of

Kazuo Shiraga was a Japanese abstract painter and the first-generation member of the postwar artists collective Gutai Art Association (Gutai). As a Gutai member, he was a prolific, inventive, and pioneering experimentalist who tackled a range of media: in add ...

to critque

's emphasis on the activity of art making over “poesis.” Turing to the Mono-ha practice of Nobuo Sekine's, he goes on to claim that Sekine turns Gutai's emphasis on activity itself into poesis by turning the means to “encounter an open world” into the artwork's goal.''From postwar to postmodern : art in Japan 1945-1989 : primary documents''. Kenji Kajiya, Fumihiko Sumitomo, Michio Hayashi, Doryun Chong. New York. 2012. p. 277. . . Hikosaka ends the article by contemplating the works of Group “I”, which for him demonstrate a stronger sense of “praxis” than both Shiraga and Sekine. He defines praxis as where “the activity itself is the purpose” and is one “based on ‘living together’—that is, on human relations.” Here we also gain in this article an insight into Hikosaka's praxis-oriented approach and the influence of

's instruction to “never copy others” on arriving at this conviction. Hikosaka writes, “I was driven crazy by this instruction, which led me into a trap of my own making, in which I believed that there was ‘nothing more I could do.’ But this process of getting caught in my own trap still possessed a phase of ‘art.’ Although I shall not mention the process in detail here, it did allow me, by means of practice arising from the art phase, to glimpse the depth of the domain of nonartwork.”''From postwar to postmodern : art in Japan 1945-1989 : primary documents''. Kenji Kajiya, Fumihiko Sumitomo, Michio Hayashi, Doryun Chong. New York. 2012. p. 275. . . He goes on to write of his “attitude of adhering to nonproductive acts and the depth of the domain of nonartwork.” This attitude appears in Bikyōtō Revolution Committee's vow as a collectivist endeavor to abstain from art making for one year, declared the month following the publication of “Beyond the Closed Circle.” From 1972 to 1977 Hikosaka edited two journals related to Bikyōtō: ''Kirokutai: Art & Document'' and ''Bijutsu shihyō'', in which much of Bikyōtō associated critical texts appeared. 1972 also saw the publication of “Chronology: 50 years of contemporary art, 1916-1968” in Bijutsu Tech ō, a survey of Japanese contemporary art during that time frame authored primarily by Hikosaka and Tone. More recently he has used blogging, social media platforms and mailing lists to disseminate his writing as a way of questioning what art is during the age of information.

Continuation of collectivist art

Another outcome of Tone and Hikosaka's

reading group was the Group of Five's Photobook ''Revolution'' Editorial Committee in 1971, consisting of Hikosaka, Hisashi Ito, Shoichi Ikeda, Naoichi Yano and Kanji Suzuki. This transdisciplinary group of painters, designers and one photographer deconstructed the medium of photography while simultaneously interrogating the space between individual and collective expression.Tomii, Reiko. “Revolution in Bikyoto's Photography: Naoyoshi Hikosaka and the Group of Five.” Essay. In ''For a New World to Come'', 150. Houston, TX: The Museum Fine Arts Houston, 2015. Their collective endeavors manifested as exhibitions, prints, and photo books, including ''Group of Five's Silkscreen Revolution: A Book'' (1972), a one-of-a-kind photo book measuring 90 x 90cm. This book contained a series of chapters which deconstructed the silkscreen process. The first chapter began with “cognition” (the subject), featuring photographic self-portraits of each member. The second focused on “the cognized” (the object), and featured a landscape photo taken by each of the members. In the third chapter, “the cognized” is “destructed” in high-contrasts lithographic prints of the prior landscape photographs. The fourth chapter presents another destruction using the lithographic film used for the previous chapter. The fifth chapter shows yet another destruction as five silkscreens. The sixth and final chapter “revealed the resulting silkscreen prints, the end product of the successive ‘destructions.’” Tomii, Reiko. “Revolution in Bikyoto's Photography: Naoyoshi Hikosaka and the Group of Five.” Essay. In ''For a New World to Come'', 152. Houston, TX: The Museum Fine Arts Houston, 2015. In 1972 Hikosaka also collaborated with his first wife, Masako Shibata on ''SEA FOR FLOOR'', ''SEA FOR WALL'', and ''SEA FOR ROOF''. For ''SEA FOR FLOOR'', two open reel tape decks simultaneously played a tape recording of the sea that was looped around interior and exterior space of Kuni Chiya Buyo Kenkyujo (Kuni Chiya Dance Laboratory) in the kindergarten in front of the

University of Tokyo , abbreviated as or UTokyo, is a public research university located in Bunkyō, Tokyo, Japan. Established in 1877, the university was the first Imperial University and is currently a Top Type university of the Top Global University Project by ...

. ''SEA FOR ROOF'' was a similar arrangement but with the tape decks and operators on the roof. ''SEA FOR WALL'' was a photographic print displayed on a wall outside. A similar use of media was used in Hikosaka's ''Film Duet: Upright Sea'' (1972/2015) in which two 16mm film projectors face opposite directions from across the gallery space, both projecting footage of the sea from a single film reel that loops from one projector to the other as it advances through the air and along the floor. This piece, which was shown at “ 5th Exhibition of Contemporary Plastic Art: Expression in Film ’72—Thing. Place. Time. Space: Equivalent Cinema” at the

Kyoto Municipal Museum of Art The is one of the oldest art museums in Japan. Nussbaum, Louis-Frédéric. (2005)"Museums"in ''Japan Encyclopedia'', pp. 671-673. It is located in Okazaki Park in Sakyō-ku, Kyoto, and opened in 1928 as a commemoration of Emperor Hirohito's coro ...

, was reconstructed in 2015 on the occasion of “Re: play 1972/2015 – Restaging “Expression in Film 1972” curated by Kenjin Miwa at the National Museum of Modern Art in Tokyo. From 1982 to 1983 he attended

University of Pennsylvania The University of Pennsylvania (also known as Penn or UPenn) is a private research university in Philadelphia. It is the fourth-oldest institution of higher education in the United States and is ranked among the highest-regarded universitie ...

Graduate School of Fine Arts, under the auspices of the Japanese Government Department of Culture foreign art study program. In September 1973 the Bikyōtō Revolution Committee further turned the Husserlian bracket inward by vowing not to make any art for the following year of 1974.Tomii, Reiko. “The Impossibility of Anti: A Theoretical Consideration of Bikyōtō.” In ''The Anti-Museum: An Anthology'', 476. Fribourg: Fri Art, 2017. This was announced at “Printing Machine,” a group exhibition of six Bikyoto artists at the Tamamura Gallery in Tokyo. The statement reads, “ hesesix have founded the second Bikyōtō Revolution Committee and agreed that during the coming year of 1974 they will perform no activity related to the production and exhibition of works. Based on this agreement, the present exhibition is organized and the works shown here are produced.” During this period, Hikosaka stayed at the

Zen Buddhist Zen ( zh, t=禪, p=Chán; ja, text= 禅, translit=zen; ko, text=선, translit=Seon; vi, text=Thiền) is a school of Mahayana Buddhism that originated in China during the Tang dynasty, known as the Chan School (''Chánzong'' 禪宗), and ...

temple Rinsho-ji in Gunma prefecture, the childhood home of his then-wife Masako Shibata.

''Practice by Wood Painting''

In 1977 Hikosaka would begin his next sustained project of “reconstructing” painting. To do so Hikosaka had first to deconstruct the medium conventions in order to create a new point of departure for painting. He arrived at the use of wood, a material that references the history of Japanese art, also citing that the history of oil painting on panel precedes that on stretched canvas. These paintings also reject flatness, a central tenet of Greenbergian formalism and therefore Western Avant-Garde discourse, producing painted surfaces that exist in relief instead. The material of wood also is of personal significance to Hikosaka, who recounts staring at the wood grain of the ceiling during his early experiences of tuberculosis-related hospitalization. According to

Alexandra Munroe Alexandra Munroe, Ph.D., is a curator, Asia scholar, and author focusing on art, culture, and institutional global strategy. She has produced over 40 exhibitions and published pioneering scholarship on modern and contemporary Asian art. She orga ...

, “Hikosaka's choice to construct paintings on wood that involved craft, design and color challenged what some critics saw as Mono-ha's excessive anti-formalism and mystical whimsy” and was “a sincere attempt to forge a regenerative, not destructive, post-avant-garde art.” Hikosaka was featured in the

Queens Museum The Queens Museum, formerly the Queens Museum of Art, is an art museum and educational center located in Flushing Meadows–Corona Park in the borough of Queens in New York City, United States. The museum was founded in 1972, and has among its pe ...

's landmark 1999 exhibition, “Global Conceptualism: Points of Origin 1950s-1980s” along with Yutaka Matsuzawa,

Yoko Ono Yoko Ono ( ; ja, 小野洋子, Ono Yōko, usually spelled in katakana ; born February 18, 1933) is a Japanese multimedia artist, singer, songwriter, and peace activist. Her work also encompasses performance art and filmmaking. Ono grew up i ...

Genpei Akasegawa was a pseudonym of Japanese artist , born March 27, 1937 – October 26, 2014 in Yokohama. He used another pseudonym, , for literary works. A member of the influential artist groups Neo-Dada Organizers and Hi-Red Center, Akasegawa went on to ma ...

, Hori Kosai and Nomura Hitoshi. He participated in the 2003 and 2009 Echigo-Tsumari Art Triennale where he exhibited ''A Tale of 42 Houses'' (2003) and ''Floor Event 2009'' (2009), respectively. From 2009 to 2013 he was specially-appointed professorship at

Rikkyo University , also known as Saint Paul's University, is a private university, in Ikebukuro, Tokyo, Japan. Rikkyo is known as one of the six leading universities in the field of sports in Tokyo (東京六大学 "Big Six" — Rikkyo University, University of ...

Graduate School. His work in included is the National Museum of Modern Art (Tokyo), the

Getty Research Institute The Getty Research Institute (GRI), located at the Getty Center in Los Angeles, California, is "dedicated to furthering knowledge and advancing understanding of the visual arts".

(Los Angeles),

Queensland Art Gallery The Queensland Art Gallery (QAG) is an art museum located in South Bank, Brisbane, Queensland, Australia. The gallery is part of QAGOMA. It complements the Gallery of Modern Art (GOMA) building, situated only away. The Queensland Art Gallery ...

(Queensland, Australia), The Museum of Fine Arts (Houston), the National Museum of Art (Osaka), the

Hiroshima City Museum of Contemporary Art The is an art museum founded in 1989. It is in Hijiyama Park in Hiroshima, Japan. The building was designed by architect Kisho Kurokawa. Representative collections Access *Hiroden Hijiyama-shita Station See also *Hiroshima Museum of Art * ...

(Hiroshima), and many other public collections.

Exhibitions

Selected solo exhibitions

1970　“Floor Event No.1”, Hikosaka's own residence, Tokyo 1972　“Floor Event No.3 / Delivery Event”, Gallery 16, Kyoto “Upright Sea”, Kyoto Shoin Hall, Kyoto 1975　“Practice by 51 Sounds”, Muramatsu Gallery, Tokyo 1977　“Practice by Shiritsu”, Muramatsu Gallery, Tokyo “Practice by Wood Painting”, Shintamura Gallery, Tokyo 1981　“Practice by Wood Painting”, TOKYO GALLERY + Muramatsu Gallery, Tokyo 1988　“Naoyoshi Hikosaka 1975-1988”, Gallery Te, Tokyo 1990　“Naoyoshi Hikosaka 1990 ASIA”, TOKYO GALLERY + Gallery Te, Tokyo 1992　“Cut-out Sculpture and New Upright Sea”, TOKYO GALLERY + SOKO TOKYO GALLERY, Tokyo 1993　“New Floor Event”, Muramatsu Gallery, Tokyo 1996　TOKYO GALLERY, Tokyo 2000　“New Wood Painting + α”, TOKYO GALLERY, Tokyo 2001　“Origin of Naoyoshi Hikosaka”, Gallery Te, Tokyo 2002　Lee Ufan · Naoyoshi Hikosaka in Two Person Exhibition, TOKYO GALLERY, Tokyo 2007　“INTERSECTION – Three Events of NaoyoshiI Hikosaka Kyoto 1972 -”, Gallery 16, Kyoto “VERTICAL CIRCLE: Retrospective exhibition of Naoyoshi Hikosaka”, The Softmachine Museum of Art, Kagawa 2010　“HISTORY LESSONS / The Imaginary Museum of the Imperial Palace”, MAKII MASARU FINE ARTS, Tokyo 2014　“an exhibition for no audience”, Avant-garde experimental NETART, Kanagawa 2016　“FLOOR EVENT 1970”, MISA SHIN GALLERY, Tokyo 2020 “Floor Event: Repetitions and Variations”, MISA SHIN GALLERY, Tokyo

Selected group exhibitions

1969　“Plastic Artists League Exhibition”, inside barricaded Tama University campus, TokyoRe 1975　“The 7th Paris Youth Biennale”, Musée d’Art Moderne de la Ville de Paris, Paris, Paris 1982　“The 40th Venice Viennale”, Venice 1987　“19a Bienal Internacional de Artes de São Paulo”, São Paulo 1988　“Olympiad of Art”, National Museum of Contemporary Art, Korea, Seoul 1989　“Europalia 1989 Japan in Belgium”, Museum voor Schone Kunsten Gent, Gent 1999　“Global Conceptualism: Points of Origin, 1950s-1980s”, The Queens Museum of Art, New York 2000–09　“The 1st-4th Echigo-Tsumari Art Triennial”, Niigata 2001　“CENTURY CITY”, Tate Modern, London 2005　“Ljubljana International Biennial of Graphic Art”, Ljubljana moderna galerija, Ljubljana 2007　“The 1st Lisbon Architecture Triennale”, Lisbon 2008　“Kompira Art 2008 Toramaru Shachu”, Auditorium Kotohira-cho, Kagawa 2013　“The 1st, 3rd, 5th, 7th, 9th Reverse triangular relationship Exhibition”, The Bamboo culture space, Tokyo “Concert: Naoyoshi Hikosaka + Noise Music Concert of A.A.C.L”, Kissa Sakaiki, Tokyo “Re:play 1972/2015 Restaging ”, The National Museum of Modern Art Tokyo, Tokyo 2016　“The 11th, 13th, 15th, 16th, 18th, 20th, 22nd, 24th, 28th, 30th Reverse triangular relationship Exhibition”, The Bamboo culture space, Tokyo 2017　“The Disconnection-Art Movement: An Exhibition of Simulation-Art”, Tokyo Metropolitan Museum, Tokyo 2018　“Travelers: Stepping into the Unknown”, The National Museum of Art, Osaka “TAKAHASHI COLLECTION Face and Abstraction”, Kiyoharu Art Colony, Yamanashi 2019　“Group Show 2”, MISA SHIN GALLERY, Tokyo “Who opens up the world?”, Toyota Municipal Museum of Art, Aichi

References

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