{"id":178663,"date":"2026-05-11T11:00:00","date_gmt":"2026-05-11T02:00:00","guid":{"rendered":"https:\/\/www.momat.go.jp\/?post_type=exhibition&#038;p=178663"},"modified":"2026-05-11T17:35:38","modified_gmt":"2026-05-11T08:35:38","slug":"r8-1","status":"publish","type":"exhibition","link":"https:\/\/www.momat.go.jp\/en\/exhibitions\/r8-1","title":{"rendered":"MOMAT Collection\uff082026.5.26\u20139.13\uff09"},"content":{"rendered":"    <div class=\"momat-anchors\" aria-label=\"Anchor link\">\n        <button id=\"button-block_c67c2590c14ad9bff6f16137305691af\"\n                aria-controls=\"nav-block_c67c2590c14ad9bff6f16137305691af\"\n                class=\"momat-anchors__sp-header\">\n            <span class=\"heading\">Table of Contents<\/span>\n            <span class=\"text open\" aria-hidden=\"false\">Open<\/span>\n            <span class=\"text close\" aria-hidden=\"true\">Close<\/span>\n            <span class=\"icon\"><\/span>\n        <\/button>\n        <div id=\"nav-block_c67c2590c14ad9bff6f16137305691af\"\n             class=\"momat-anchors__navigation\">\n            <div class=\"momat-anchors__inner\">\n                                    <a href=\"#section1-1\"\n                       title=\"Scroll to Highlights\"\n                       class=\"momat-anchors__link\">\n                        Highlights                    <\/a>\n                                    <a href=\"#section1-2\"\n                       title=\"Scroll to About the Sections\"\n                       class=\"momat-anchors__link\">\n                        About the Sections                    <\/a>\n                                    <a href=\"#section1-3\"\n                       title=\"Scroll to Hours &amp; Admissions\"\n                       class=\"momat-anchors__link\">\n                        Hours &amp; Admissions                    <\/a>\n                            <\/div>\n        <\/div>\n    <\/div>\n\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<h2 class=\"wp-block-heading\" id=\"section1-1\">Highlights<\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"474\" height=\"800\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/exhibitions_20260526.jpg\" alt=\"\" class=\"wp-image-177965\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/exhibitions_20260526.jpg 474w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/exhibitions_20260526-119x200.jpg 119w\" sizes=\"(max-width: 474px) 100vw, 474px\" \/><figcaption class=\"wp-element-caption\">Yorozu&nbsp;Tetsugoro,&nbsp;<em>Nude Beauty<\/em>, 1912,&nbsp;National Important Cultural Properties&nbsp;<\/figcaption><\/figure><\/div>\n\n\n<div class=\"wp-block-group is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<p>Welcome to the MOMAT Collection!&nbsp;<\/p>\n\n\n\n<p>To introduce some features of the museum\u2019s exhibitions of works from the collection: First, its scale is one of the largest in Japan, displaying approximately 200 works each term from the museum\u2019s holdings of approximately 14,000 works&nbsp;acquired&nbsp;since its opening in 1952. Also, it is one of the foremost exhibitions in Japan, tracing the arc of Japanese modern and contemporary art from the end of the 19<sup>th<\/sup>&nbsp;century to the present day through a series of 12 rooms, each with its own specific theme.&nbsp;<\/p>\n\n\n\n<p>Some highlights of the current term are as follows. The ability to present exhibits in the collection galleries that connect with special exhibitions on the first floor is one of the strengths of this museum\u2019s holdings. This time, using Room 8, Room 9, and part of Room 10 on the third floor, we present exhibits in conjunction with&nbsp;<em>Hiroshi Sugimoto: Extinction<\/em>&nbsp;(opening June 16). Meanwhile, many newly&nbsp;acquired&nbsp;works are also on view this term. Look for the \u201cNew Acquisition\u201d markers next to each work.&nbsp;<\/p>\n\n\n\n<p>We hope you enjoy this rich lineup of works from the MOMAT Collection, where longtime highlights are joined by fresh&nbsp;new faces.&nbsp;<\/p>\n\n\n<div class=\"wp-block-buttons\">\n    <div class=\"momat-button-invert-download\">\n        <a class=\"wp-block-button__link\" href=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/cdce0e5e4438357dd068be04b188e613.pdf\" target=\"_blank\">\n            MOMAT Collection List (PDF: 369KB)        <\/a>\n    <\/div>\n<\/div>\n\n\n<div class=\"wp-block-buttons\">\n    <div class=\"momat-button-arrow\">\n        <a class=\"wp-block-button__link\" href=\"https:\/\/www.momat.go.jp\/en\/about-collection\">\n            Introduction to the Collection        <\/a>\n    <\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\">National Important Cultural Properties on display&nbsp;<\/h3>\n\n\n\n<p>The National Museum of Modern Art, Tokyo Collection&nbsp;contains&nbsp;18 items that have been&nbsp;designated&nbsp;by the Japanese government as National Important Cultural Properties. These include twelve\u202f<em>Nihon-ga<\/em>\u202f(Japanese-style) paintings, five oil paintings, and one sculpture. (One of the\u202f<em>Nihon-ga<\/em>\u202fpaintings and one of the oil paintings are on&nbsp;long-term loan to the museum.)&nbsp;<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The following National Important Cultural Properties are shown in this period:&nbsp;<\/h3>\n\n\n\n<ul>\n<li>Room&nbsp;2&nbsp;Harada&nbsp;Naojiro,\u202f<em>Kannon Bodhisattva Riding the Dragon<\/em>, 1890, Long term loan&nbsp;(Gokokuji&nbsp;Temple Collection)<\/li>\n\n\n\n<li>Room&nbsp;2&nbsp;Hishida&nbsp;Shunso,&nbsp;Wong&nbsp;Zhaojun&nbsp;[the Chinese princess], 1902&nbsp;Long term loan (Zenpo-ji Temple Collection)<\/li>\n\n\n\n<li>Room 2 Wada Sanzo,&nbsp;<em>South Wind<\/em>, 1907<\/li>\n\n\n\n<li>Room 3 Yorozu&nbsp;Tetsugoro,\u202f<em>Nude Beauty<\/em>, 1912<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex\">\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"531\" height=\"800\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/7bd74e2c0c4a542175b0413518eeaddc.jpg\" alt=\"\" class=\"wp-image-177977\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/7bd74e2c0c4a542175b0413518eeaddc.jpg 531w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/7bd74e2c0c4a542175b0413518eeaddc-133x200.jpg 133w\" sizes=\"(max-width: 531px) 100vw, 531px\" \/><figcaption class=\"wp-element-caption\">Harada&nbsp;Naojiro,\u202f<em>Kannon Bodhisattva Riding the Dragon<\/em>, 1890, Long term loan (Gokokuji&nbsp;Temple Collection)&nbsp;<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"365\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/650e9c4f04d65765ccceb0e309c855e0.jpeg\" alt=\"\" class=\"wp-image-177981\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/650e9c4f04d65765ccceb0e309c855e0.jpeg 800w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/650e9c4f04d65765ccceb0e309c855e0-200x91.jpeg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/650e9c4f04d65765ccceb0e309c855e0-768x350.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-element-caption\">Hishida&nbsp;Shunso,&nbsp;Wong&nbsp;Zhaojun&nbsp;[the Chinese princess], 1902&nbsp;Long term loan (Zenpo-ji Temple Collection)&nbsp;<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"722\" height=\"600\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/53d789f1fdbd79f2b61d424afb229129.jpg\" alt=\"\" class=\"wp-image-177909\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/53d789f1fdbd79f2b61d424afb229129.jpg 722w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/53d789f1fdbd79f2b61d424afb229129-200x166.jpg 200w\" sizes=\"(max-width: 722px) 100vw, 722px\" \/><figcaption class=\"wp-element-caption\">Wada Sanzo,&nbsp;<em>South Wind<\/em>, 1907&nbsp;<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"474\" height=\"800\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/15047e35e260a204c2bab7a43bad4248.jpg\" alt=\"\" class=\"wp-image-177917\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/15047e35e260a204c2bab7a43bad4248.jpg 474w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/15047e35e260a204c2bab7a43bad4248-119x200.jpg 119w\" sizes=\"(max-width: 474px) 100vw, 474px\" \/><figcaption class=\"wp-element-caption\">Yorozu&nbsp;Tetsugoro,&nbsp;<br><em>Nude Beauty<\/em>, 1912&nbsp;<\/figcaption><\/figure>\n<\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"section1-2\">About the Sections<\/h2>\n\n\n\n<h2 class=\"wp-block-heading\">4F (Fourth floor)<\/h2>\n\n\n\n<h4 class=\"wp-block-heading\"><em><em>A Room&nbsp;With&nbsp;A&nbsp;View&nbsp;<\/em>&nbsp;<\/em><\/h4>\n\n\n\n<p>Located on the top floor of the museum, the rest area is&nbsp;furnished with&nbsp;Bertoia chairs, which can be compared to masterpieces of chair design. Please relax by the bright window. The large windows offer panoramic views of the greenery of the Imperial Palace and the Marunouchi skyline.&nbsp;<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Information Section<\/h4>\n\n\n\n<p>Located in the introductory area, the Information Section presents a chronology of the MOMAT\u2019s history, along with related materials. The materials on display are constantly being changed, so&nbsp;don\u2019t&nbsp;miss them. The section also provides information on exhibitions at other museums that include works on loan from our museum, as well as a system for searching for works in our collection.<\/p>\n\n\n\n<p><strong>Room 1-5 1880s-1940s<\/strong><\/p>\n\n\n\n<p>From the Middle of the Meiji Period to the Beginning of the Showa Period<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room1 Highlights<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-5\">\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/f3f5d7f2b580d73d731751af60220284.jpeg\" alt=\"\" class=\"wp-image-177969\" width=\"250\" height=\"211\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/f3f5d7f2b580d73d731751af60220284.jpeg 711w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/f3f5d7f2b580d73d731751af60220284-200x169.jpeg 200w\" sizes=\"(max-width: 250px) 100vw, 250px\" \/><figcaption class=\"wp-element-caption\">Fujita&nbsp;Tsuguharu,&nbsp;<em>Five Nudes<\/em>,&nbsp;1923&nbsp;<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>The MOMAT Collection exhibition of works from our permanent holdings features&nbsp;nearly 200&nbsp;items in&nbsp;a&nbsp;3,000-square-meter space. The \u201cHighlights\u201d section of this exhibition features highly prized works of modern and contemporary art that&nbsp;showcase&nbsp;the strengths of our collection. This term, we invite you to focus on Nihonga (Japanese-style painting). The first term (through July 20) features Kitano&nbsp;Tsunetomi\u2019s&nbsp;<em>For&nbsp;Fun<\/em>&nbsp;(1929) and Ogura Yuki\u2019s&nbsp;<em>Bathing Women<\/em>&nbsp;(1938) and&nbsp;<em>After Bathing<\/em>&nbsp;(1939). In the second term (from July 22), the works include Fukuda&nbsp;Heihachiro\u2019s&nbsp;<em>Rain<\/em>&nbsp;(1953). All are among the most popular works in the museum\u2019s Nihonga collection. Outside the display cases, Fujita&nbsp;Tsuguharu\u2019s&nbsp;<em>Five Nudes&nbsp;<\/em>(1923), much sought&nbsp;after for&nbsp;exhibitions around the country, has returned to the MOMAT Collection exhibition after an absence of&nbsp;roughly three&nbsp;years. We hope you will take your time and enjoy all of these, along with perennial favorites in this room by Paul C\u00e9zanne, Pierre Bonnard, and Paul Klee, as well as Nara Yoshitomo\u2019s&nbsp;<em>Harmless Kitty<\/em>&nbsp;(1994), which&nbsp;remains&nbsp;on view from the&nbsp;previous&nbsp;term.&nbsp;<\/p>\n<\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Room 2&nbsp;Clouds above the Hill&nbsp;<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-8\">\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"722\" height=\"600\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/53d789f1fdbd79f2b61d424afb229129.jpg\" alt=\"\" class=\"wp-image-177909\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/53d789f1fdbd79f2b61d424afb229129.jpg 722w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/53d789f1fdbd79f2b61d424afb229129-200x166.jpg 200w\" sizes=\"(max-width: 722px) 100vw, 722px\" \/><figcaption class=\"wp-element-caption\">Wada Sanzo,&nbsp;<em>South Wind<\/em>, 1907&nbsp;<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>Through Japan\u2019s victories in the First Sino-Japanese War (1894\u201395) and the Russo-Japanese War (1904\u201305), the country revised an unequal treaty with the world\u2019s great powers and&nbsp;acquired&nbsp;the status of a completely independent nation.&nbsp;Regarding&nbsp;itself as the leader of a new order in East Asia, this marked Japan\u2019s burgeoning awareness as a major world power. As Shiba Ryotaro wrote in&nbsp;<em>Clouds above the Hill<\/em>, this was the point at which the image of Japan as a modern nation \u2013 a status the country had pursued since the Meiji Restoration \u2013 was realized. This also signified that Japan had taken the first step toward becoming an empire. After the Russo-Japanese War, Japan annexed Korea in 1910 and&nbsp;established&nbsp;a foothold to advance into the Chinese mainland.&nbsp;&nbsp;<\/p>\n\n\n\n<p>The Bunten exhibition, sponsored by the Ministry of Education, Science, and Culture, was launched not long after the Russo-Japanese War in 1907. Among the displays in the first installment were works such as Wada Sanzo\u2019s&nbsp;<em>South Wind<\/em>, which captured the spirit of the times through a heroic masculine image. But at the same time there was a surge of dissatisfaction with the government, which had burdened the nation with its military pursuits. The weight of public interest gradually&nbsp;shifted away&nbsp;from the nation to the individual.&nbsp;<\/p>\n<\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Room&nbsp;3&nbsp;The Sun and I&nbsp;<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-11\">\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/743c87009410d24936286eb670306882.jpg\" alt=\"\" class=\"wp-image-177913\" width=\"230\" height=\"307\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/743c87009410d24936286eb670306882.jpg 598w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/743c87009410d24936286eb670306882-150x200.jpg 150w\" sizes=\"(max-width: 230px) 100vw, 230px\" \/><figcaption class=\"wp-element-caption\">Kawakami&nbsp;Ryoka,&nbsp;<em>Railroad,&nbsp;<\/em>1912&nbsp;<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>\u201cI am searching for absolute freedom in the art world. Thus, I am&nbsp;attempting&nbsp;to recognize the infinite authority of the artist\u2019s&nbsp;<em>Persoenlichkeit<\/em>&nbsp;[personality]\u2026. Even if someone painted a green sun, I would not criticize them.\u201d This is a passage from \u201cGreen Sun,\u201d an essay written by Takamura Kotaro in 1910. Extolling an absolute way of seeing and feeling that would even allow an artist to alter the nature of the outside world, the text heralds the start of Taisho Democracy. Underlying this example of depicting the sun (which would usually be red in Japan) with the complementary color of green, is a van Gogh work in which the artist used the complementary colors of orange and blue to paint the sun.&nbsp;Shirakaba, a magazine that was also launched in 1910, often featured plates of van Gogh\u2019s works. With his glowing colors (even though the reproductions were monochrome), thick paint that conveyed a breathtaking sense of speed, and a tragic life during which he received little understanding from other people \u2013 van Gogh instantly became an emotional \u201csun\u201d illuminating the \u201cI\u201d (or the self) of young artists with a relentless desire to expand themselves.&nbsp;<\/p>\n<\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Room 4&nbsp;<em>Shin-hanga&nbsp;<\/em>Crosses the Ocean&nbsp;<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-14\">\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/8ad99b233e7da38b1b6a6d29c8758d1e.jpg\" alt=\"\" class=\"wp-image-177921\" width=\"226\" height=\"301\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/8ad99b233e7da38b1b6a6d29c8758d1e.jpg 599w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/8ad99b233e7da38b1b6a6d29c8758d1e-150x200.jpg 150w\" sizes=\"(max-width: 226px) 100vw, 226px\" \/><figcaption class=\"wp-element-caption\">Yoshida Hiroshi,&nbsp;<em>Sailboat in the Morning Sunlight<\/em>,&nbsp;1921&nbsp;(Exhibit Dates: May 26\u2013July 20)&nbsp;<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/e088367a89be64f68e048dae552fd822.jpg\" alt=\"\" class=\"wp-image-177925\" width=\"229\" height=\"311\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/e088367a89be64f68e048dae552fd822.jpg 589w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/e088367a89be64f68e048dae552fd822-147x200.jpg 147w\" sizes=\"(max-width: 229px) 100vw, 229px\" \/><figcaption class=\"wp-element-caption\">Yoshida Hiroshi,&nbsp;<em>Sailboat in the Evening Glow<\/em>, 1921&nbsp;(Exhibit Dates:&nbsp;July&nbsp;22\u2013September&nbsp;13)&nbsp;<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><em>Shin-hanga<\/em>&nbsp;(New Prints) emerged in the Taisho era (1912\u20131926) and were produced using the same collaborative division of labor as ukiyo-e, with the goal of reviving and modernizing that tradition.&nbsp;Today,&nbsp;<em>shin-hanga<\/em>&nbsp;works are in the collections of many museums and individuals overseas. In fact, large-scale traveling exhibitions in the United States helped raise the movement\u2019s profile as early as 1930 and 1936. Each exhibition featured 10 selected artists and around 300 works. The prints covered a broad range of genres, including landscape,&nbsp;<em>bijinga<\/em>&nbsp;(images of beautiful women), actor portraits, and bird-and-flower prints, and many depicted subjects associated with Japan. Because most of the works on view could be ordered from the publishers, large numbers of prints were exported to the US. Although there were plans to hold&nbsp;<em>shin-hanga<\/em>&nbsp;exhibitions there every five years after 1936, the worsening international climate as Japan moved toward war prevented their continuation. In this room,&nbsp;we revisit some of the prints seen by American viewers at the time, including works by Yoshida Hiroshi, who played an active role in the exhibitions both as a participating artist and as an intermediary.&nbsp;<\/p>\n<\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Room&nbsp;5&nbsp;Landscape Mobilized in Wartime&nbsp;<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-17\">\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/52176ed4adabfd0199c8fb64b354ee19.jpg\" alt=\"\" class=\"wp-image-177929\" width=\"219\" height=\"268\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/52176ed4adabfd0199c8fb64b354ee19.jpg 600w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/52176ed4adabfd0199c8fb64b354ee19-163x200.jpg 163w\" sizes=\"(max-width: 219px) 100vw, 219px\" \/><figcaption class=\"wp-element-caption\">Umehara Ryuzaburo,&nbsp;<em>Autumn in Beijing<\/em>, 1942&nbsp;<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>For people living in Japan, an island nation, the endless horizons and vast blue skies of the Asian continent symbolized a distant, alluring elsewhere. From the Meiji era (1868\u20131912) onward, as Japan colonized Taiwan and Korea and expanded its reach into Asia, that gaze rapidly acquired overt political overtones. For example, in the Forbidden City in Peking (present-day Beijing) as painted by Umehara Ryuzaburo during the war years, viewers at the time would have perceived both exoticism and territorial expansion.&nbsp;&nbsp;<\/p>\n\n\n\n<p>To cross the sea as a soldier was synonymous with laying down one\u2019s life for Japan\u2019s war effort. Artists Ai-Mitsu and Asahara Kiyotaka were conscripted and sent to the continent, where they died. A verse by Otomo no&nbsp;Yakamochi, the model for Tsuji Shindo\u2019s carved wood sculpture, which was included in the ancient poetry anthology&nbsp;Man\u2019yoshu, was set to music and sung as the popular patriotic song \u201cUmi&nbsp;Yukaba\u201d (If I Go Away to the Sea). During World War II, \u201cUmi&nbsp;Yukaba\u201d became the customary requiem accompanying broadcasts reporting&nbsp;<em>gyokusai<\/em>&nbsp;(mass death in battle). Landscapes of the continent and the sea came to be more than beautiful scenes to&nbsp;contemplate, and&nbsp;were mobilized as devices that drove people toward the front.&nbsp;<\/p>\n<\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\">3F (Third floor)<\/h2>\n\n\n\n<p><strong>Room 6-8 1940s-1960s\u3000From the Beginning to the Middle of the Showa Period<br>Room 9 Photography and Video<br>Room 10\u202f<em>Nihon-ga<\/em>\u202f(Japanese-style Painting)<\/strong><br><strong>Room to Consider the Building<\/strong> (<a href=\"https:\/\/www.momat.go.jp\/en\/magazine\/033\">Sol LeWitt,&nbsp;<em>Wall Drawing#769<\/em><\/a>)<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room 6&nbsp;Dreams of Steel, Wounded Ruins&nbsp;<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-20\">\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/17a25a756ceccbda8bbfba0a703ce53c.jpg\" alt=\"\" class=\"wp-image-177933\" width=\"262\" height=\"174\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/17a25a756ceccbda8bbfba0a703ce53c.jpg 800w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/17a25a756ceccbda8bbfba0a703ce53c-200x134.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/17a25a756ceccbda8bbfba0a703ce53c-768x513.jpg 768w\" sizes=\"(max-width: 262px) 100vw, 262px\" \/><figcaption class=\"wp-element-caption\">Tsuruoka Masao,&nbsp;<em>Lying Head<\/em>,&nbsp;1950&nbsp;<br>Photography by Otani Ichiro&nbsp;<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>Vast expanses of sea in Navy Operation Record Paintings and gripping battle scenes of warships stirred the imaginations of boys raised in a militarized society. Alongside illustrations of science-fictional weapons published in the magazine&nbsp;<em>Kikaika<\/em>&nbsp;(Mechanization), such images fueled their dreams and aspirations. With Japan\u2019s defeat in 1945, however, those fantasies collapsed. Furusawa Iwami\u2019s&nbsp;<em>Starveling<\/em>&nbsp;reflects the immediate postwar mood all too clearly, depicting wounded veterans and sex workers standing amid a city reduced to rubble.&nbsp;&nbsp;<\/p>\n\n\n\n<p>After World War II, as the economy moved toward recovery driven by a surge in demand related to the Korean War, artists turned their gaze to the suffering human body, as if fighting the prevailing tide of historical amnesia. Tsuruoka Masao\u2019s&nbsp;<em>Lying Head<\/em>&nbsp;and&nbsp;Urushibara&nbsp;Hideko\u2019s Midnight&nbsp;<em>Circus<\/em>, both recently added to the collection, are emblematic of the distorted and fragmented body imagery that emerged in postwar Japan. In this room, we reflect on memories of war, tracing the evolution of imagery from rousing propaganda to wounded flesh.&nbsp;<\/p>\n<\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Room 7&nbsp;Navel Surgery&nbsp;<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-23\">\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/349f1df7bde94b7c3ce5b80914fddf75.jpeg\" alt=\"\" class=\"wp-image-177937\" width=\"229\" height=\"240\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/349f1df7bde94b7c3ce5b80914fddf75.jpeg 600w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/349f1df7bde94b7c3ce5b80914fddf75-191x200.jpeg 191w\" sizes=\"(max-width: 229px) 100vw, 229px\" \/><figcaption class=\"wp-element-caption\">Kawara On,&nbsp;<em>Pregnant Woman<\/em>,&nbsp;1954&nbsp;<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>Last year, the museum acquired Flood, an important early work by the internationally renowned Japanese artist Kawara On. Marking its public debut, this exhibit focuses on avant-garde practices in postwar Japan.&nbsp;&nbsp;<\/p>\n\n\n\n<p>Drawing on \u201cPolarism,\u201d the postwar artistic philosophy proposed by Okamoto Taro that sought to generate new value by allowing opposing elements to coexist in unresolved contradiction, Kawara referred to his own extension of this approach as \u201cnavel surgery.\u201d As he put it, it was an effort to \u201cdestroy the tepid (\u2026) spatial forms of the past and further sharpen the contradiction and opposition between the viewer\u2019s vision and the painting.\u201d A magazine article in which he fully disclosed his process of dismantling the central point, the \u201cnavel,\u201d of the picture plane clarifies why he frequently employed shaped canvases during this period. By breaking down the symmetry of the picture plane and attempting to reshape the viewer\u2019s gaze, Kawara aligned himself with contemporaries who shared similar concerns, including Nakamura Hiroshi, who made use of montage; Yamaguchi Katsuhiro, who set the viewpoint in motion rather than fixing it in place; and Miyawaki Aiko, whose works quite literally dispense with a center.&nbsp;<\/p>\n<\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Room 8&nbsp;Materialization or Dematerialization?&nbsp;<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-26\">\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/248b314fcd565da13aa0be71fa1a57d8.jpeg\" alt=\"\" class=\"wp-image-177945\" width=\"242\" height=\"201\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/248b314fcd565da13aa0be71fa1a57d8.jpeg 721w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/248b314fcd565da13aa0be71fa1a57d8-200x166.jpeg 200w\" sizes=\"(max-width: 242px) 100vw, 242px\" \/><figcaption class=\"wp-element-caption\">Takamatsu Jiro,&nbsp;<em>No.273 (Shadow)<\/em>,&nbsp;1969&nbsp;<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>In conjunction with&nbsp;<em>Hiroshi Sugimoto: Extinction<\/em>, on view on the first floor, this area features art primarily from the 1970s. Sugimoto moved to the United States in 1970 to study photography, marking the start of his career. Around this time, the \u201cdematerialization of art\u201d was a tendency emerging worldwide. As identified by the American critic Lucy R. Lippard, this tendency for artists to foreground essential concepts, rather than pleasing the eye with material and visual elements such as skillful technique or formal construction, subverted the image of artworks as one-of-a-kind commodities and led to the rise of Conceptualism. Many artists eliminated&nbsp;color, and&nbsp;often turned to print processes to introduce an indirect mode of production, creating distance from materiality. Even so, a work of art cannot escape its status as a material thing. The challenging and exploratory aspects of using material to subvert materiality, or of presenting material itself as concept, can be seen, for example, in the notes accompanying preparatory drawings for a work by Takamatsu Jiro.&nbsp;<\/p>\n<\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Room 9&nbsp;Video (I See)&nbsp;<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-29\">\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"640\" height=\"480\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/a649e71f6d93bd648164bd7dd2b2cd05.jpg\" alt=\"\" class=\"wp-image-177949\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/a649e71f6d93bd648164bd7dd2b2cd05.jpg 640w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/a649e71f6d93bd648164bd7dd2b2cd05-200x150.jpg 200w\" sizes=\"(max-width: 640px) 100vw, 640px\" \/><figcaption class=\"wp-element-caption\">Lynda Benglis,&nbsp;<em>Now<\/em>,&nbsp;1973&nbsp;<br>Courtesy Electronic Arts Intermix (EAI), New York&nbsp;<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>The term audio (Latin for \u201cI hear\u201d) originated in the early 20th century as a technical term for sound signals. Its counterpart, video (likewise, \u201cI see\u201d), came to be used for visual signals. When portable video cameras were developed in the 1960s, artists seized on the new equipment to explore uncharted creative territory. In this room, we present three landmark works from the early 1970s, the formative years of the medium.&nbsp;&nbsp;<\/p>\n\n\n\n<p>Video\u2019s unique mechanical structure, which converts visual images into signals that can immediately be played back, means that the person filming can continuously review their own footage. Because video literally means \u201cI see,\u201d the name has a built-in duality: seeing is equated with video, even as video as a medium defines and regulates the act of seeing. In response to this self-referential quality, many works turned the camera into a mirror, reflecting on who is seeing and what is being seen. The frequent appearance of the artists themselves in early video art can be attributed less to their being the most readily available model than to this inherent characteristic of the medium.&nbsp;<\/p>\n<\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Room 10&nbsp;(Dates:&nbsp;May 26-July 20)&nbsp;Theaters, Seascapes, and Sugimoto Notebooks \/ Seeing the Wind&nbsp;<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-32\">\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/afda14c6757a601f79e103e8d997fe50.jpeg\" alt=\"\" class=\"wp-image-177995\" width=\"239\" height=\"184\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/afda14c6757a601f79e103e8d997fe50.jpeg 624w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/afda14c6757a601f79e103e8d997fe50-200x154.jpeg 200w\" sizes=\"(max-width: 239px) 100vw, 239px\" \/><figcaption class=\"wp-element-caption\">Sugimoto Hiroshi,&nbsp;<em>Cabot Street Cinema, MA<\/em>,&nbsp;1978 \u24b8 Hiroshi Sugimoto \/ Courtesy of Gallery<br>Koyanagi<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>In the front area, as a satellite exhibit for&nbsp;<em>Hiroshi Sugimoto: Extinction<\/em>, on view in the first-floor Special Exhibition Gallery, we present 13 works by Sugimoto from the museum&#8217;s collection along with notebooks documenting his creative process. Theaters and Seascapes&nbsp;series, known as&nbsp;landmark early&nbsp;series, are both conceptual in nature, yet the notebooks on display here reveal the importance of the visual dimension, showing that Sugimoto engaged in extensive trial and error in the darkroom as he strove to perfect his prints.&nbsp;&nbsp;<\/p>\n\n\n\n<p>The room at the back focuses on wind and the subtle movement of air. Modern Nihonga (Japanese-style painting) artists,&nbsp;on the whole, sought to move beyond established pictorial conventions, yet they did not abandon the traditional sensibility of appreciating&nbsp;kachofugetsu&nbsp;(\u201cflowers, birds, wind, and moon,\u201d i.e. the beauty of nature). The works assembled here, spanning from the Meiji era (1868\u20131912) to the Heisei era (1989\u20132019), all engage in some way with the theme of wind. In these varied treatments, what new forms of modern expression and what fresh readings of tradition can be seen?&nbsp;<\/p>\n<\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Room 10&nbsp;(Dates:&nbsp;July 22-September 13)&nbsp;Theaters, Seascapes, and Sugimoto Notebooks \/ Birds in Modern Nihonga&nbsp;<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-35\">\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"638\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/a578e10be952044b0ff89fb86726632d.jpg\" alt=\"\" class=\"wp-image-177953\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/a578e10be952044b0ff89fb86726632d.jpg 800w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/a578e10be952044b0ff89fb86726632d-200x160.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/a578e10be952044b0ff89fb86726632d-768x612.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-element-caption\">Takeuchi Seiho,&nbsp;<em>Birds at Roost<\/em>,&nbsp;1926&nbsp;(Exhibit Dates: July 22\u2013September 13)&nbsp;<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>In the front area, as a satellite exhibit for&nbsp;<em>Hiroshi Sugimoto: Extinction<\/em>, on view in the first-floor Special Exhibition Gallery, we present 13 works by Sugimoto from the museum&#8217;s collection along with notebooks documenting his creative process. Theaters and Seascapes series, known as&nbsp;landmark early&nbsp;series, are both conceptual in nature, yet the notebooks on display here reveal the importance of the visual dimension, showing that Sugimoto engaged in extensive trial and error in the darkroom as he strove to perfect his prints. In the back room, following the first-term focus on wind, we turn to Nihonga (Japanese-style painting) depicting birds, another element of&nbsp;<em>kachofugetsu<\/em>&nbsp;(\u201cflowers, birds, wind, and moon,\u201d i.e. the beauty of nature). Birds, familiar to us in everyday life, have appeared in Japanese painting&nbsp;since ancient times. In seeking to move beyond the conventions of traditional bird-and-flower painting, modern Nihonga artists isolated birds to explore new approaches to form and&nbsp;composition, or&nbsp;introduced them into landscapes to bring a sense of life to the scene. What signs of modern sensibilities can be found in the birds seen here?&nbsp;<\/p>\n<\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\">2F (Second floor)<\/h2>\n\n\n\n<p><strong>Room 11\u201312 1970s\u20132020s<\/strong><br><strong>From the End of the Showa Period to the Present<\/strong><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room 11&nbsp;Images: Appearance and Disappearance&nbsp;<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-38\">\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"684\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/8f70db66f62a522caacf0bb297019043-1024x684.jpeg\" alt=\"\" class=\"wp-image-177957\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/8f70db66f62a522caacf0bb297019043-1024x684.jpeg 1024w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/8f70db66f62a522caacf0bb297019043-200x134.jpeg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/8f70db66f62a522caacf0bb297019043-768x513.jpeg 768w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/8f70db66f62a522caacf0bb297019043.jpeg 1193w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Yokomizo Shizuka,&nbsp;<em>That Day<\/em>,&nbsp;2020&nbsp;@ Shizuka Yokomizo\u202f&nbsp;<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>For the first time since its acquisition, we present Yokomizo Shizuka\u2019s video installation&nbsp;<em>That Day<\/em>&nbsp;(2020). In conjunction with its debut, this exhibit also features several works that adopt the perspective of the appearance and disappearance of images.&nbsp;&nbsp;<\/p>\n\n\n\n<p>In Yokomizo\u2019s video, which follows the photographic developing process, the fixing of the image on paper (appearance) and the fading of memory (disappearance) are framed as two sides of the same process. In the paintings of Kobayashi Masato, the viewer witnesses the arrival of the image of \u201csky,\u201d even as the material presence of paint and canvas seems to recede. In the drawings of Roland Flexner, the instant a soap bubble bursts and disappears, an image surfaces&nbsp;as&nbsp;a lingering trace. This theme of the appearance and disappearance of the image connects loosely to the video piece by Bill Viola in Room 12.&nbsp;&nbsp;<\/p>\n\n\n\n<p>In physical terms, works of art are unmistakably present in front of the viewer. Their images, however, prove far less reliable than they may seem. When, and in what manner, do images emerge and vanish before us?&nbsp;<\/p>\n<\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Room 12&nbsp;Image: The Power Within&nbsp;<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-41\">\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/7a7e6d9da6008d04fee87a37aa4a6202.jpg\" alt=\"\" class=\"wp-image-177961\" width=\"230\" height=\"191\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/7a7e6d9da6008d04fee87a37aa4a6202.jpg 722w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/7a7e6d9da6008d04fee87a37aa4a6202-200x166.jpg 200w\" sizes=\"(max-width: 230px) 100vw, 230px\" \/><figcaption class=\"wp-element-caption\">Ikemura&nbsp;Leiko,&nbsp;<em>Reclining Girl<\/em>,&nbsp;1997&nbsp;<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>Bodies in the works on view here appear fragmentary, insubstantial, or somehow hollow. A work by Shirai Mio is made from artificial human hair; a ghostly dress by&nbsp;Maemoto&nbsp;Shoko reflects her own existential and physical anxiety and conflict; phallic forms proliferate in Kusama Yayoi\u2019s a soft sculpture, created to overcome her fear of men. The faceless figures and wounded animals depicted by Murakami Saki are connected to anxieties and traumas buried deep within the artist\u2019s psyche. A girl painted by&nbsp;Ikemura&nbsp;Leiko lies as if drifting between consciousness and unconsciousness, waking and sleep. The indistinct figures of refugees painted by Miriam Cahn keep moving forward, wandering with no direction home. The bodies depicted in these works, while lacking substance, convey a power&nbsp;within:&nbsp;a will to go on living even while undergoing oppression, unease, pain, and fear. In Bill Viola\u2019s video The Reflecting Pool, a man\u2019s body gradually fades from the screen over time, yet it is precisely this disappearance that generates a powerful tension within the image.&nbsp;<\/p>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"section1-3\">Hours &amp; Admissions<\/h2>\n\n\n<dl class=\"momat-dl\">\n    \n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Location<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>Collection Gallery, from the fourth to second floors<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Date<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>May 26, 2026<strong>\u2013<\/strong>September 13, 2026&nbsp;<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Closed<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>Mondays (except&nbsp;July&nbsp;20), July 21&nbsp;<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Time<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>10 am<strong>\u2013<\/strong>5 pm (Fridays and Saturdays open until 8 pm)\u202f<\/p>\n\n\n\n<ul>\n<li>Last admission: 30 minutes before closing.\u202f<\/li>\n<\/ul>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Admission<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>Adults \u00a5500 (400)&nbsp;<br>College and university students \u00a5250 (200)&nbsp;<\/p>\n\n\n\n<ul>\n<li>The price in brackets is for the group of 20 persons or more. All prices include tax.&nbsp;<\/li>\n\n\n\n<li>Free for high school students, under 18, seniors (65 and over), Campus Members, MOMAT passport holder.&nbsp;<\/li>\n\n\n\n<li>Show your Membership Card of the MOMAT Supporters or the MOMAT Members to get free admission (a MOMAT Members Card admits two persons free).&nbsp;<\/li>\n\n\n\n<li>Persons with disability and one person accompanying them are admitted free of charge.&nbsp;<\/li>\n\n\n\n<li>Members of the MOMAT Corporate Partners are admitted free with their staff ID.&nbsp;<\/li>\n\n\n\n<li>Including the admission fee for&nbsp;<em><a href=\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r8-1-g4\">MOMAT Collection Focus<\/a><\/em> (Gallery 4).&nbsp;<\/li>\n<\/ul>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Discounts<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>Evening Discount (From 5 pm on Fridays and Saturdays)&nbsp;<br>Adults \u00a5300&nbsp;<br>College and university students \u00a5150&nbsp;<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<div class=\"momat-dl__item\">\n    <dt class=\"momat-dl__heading\">Organaized by<\/dt>\n    <dd class=\"momat-dl__content\">\n        \n\n<p>The National Museum of Modern Art, Tokyo<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<\/dl>\n<\/div><\/div>\n","protected":false},"featured_media":178576,"template":"","exhibition_type":[255],"exhibition_year":[3911],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>MOMAT Collection\uff082026.5.26\u20139.13\uff09 \uff08\u5c55\u89a7\u4f1a\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r8-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"MOMAT Collection\uff082026.5.26\u20139.13\uff09 \uff08\u5c55\u89a7\u4f1a\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\" \/>\n<meta property=\"og:description\" content=\"Highlights Welcome to the MOMAT Collection!&nbsp; To introduce some features of the museum\u2019s exhibitions of works from the collection: First, its scale is one of the largest in Japan, displaying approximately 200 works each term from the museum\u2019s holdings of approximately 14,000 works&nbsp;acquired&nbsp;since its opening in 1952. Also, it is one of the foremost exhibitions in Japan, tracing the arc of Japanese modern and contemporary art from the end of the 19th&nbsp;century to the present day through a series of 12 rooms, each with its own specific theme.&nbsp; Some highlights of the current term are as follows. 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