{"id":181403,"date":"2026-09-04T11:00:00","date_gmt":"2026-09-04T02:00:00","guid":{"rendered":"https:\/\/www.momat.go.jp\/?post_type=exhibition&#038;p=181403"},"modified":"2026-09-08T18:14:00","modified_gmt":"2026-09-08T09:14:00","slug":"momat-collection%ef%bc%882026-9-29-2027-1-11%ef%bc%89","status":"publish","type":"exhibition","link":"https:\/\/www.momat.go.jp\/en\/exhibitions\/momat-collection%ef%bc%882026-9-29-2027-1-11%ef%bc%89","title":{"rendered":"MOMAT Collection\uff082026.9.29\u20132027.1.11\uff09"},"content":{"rendered":"    <div class=\"momat-anchors\" aria-label=\"Anchor link\">\n        <button id=\"button-block_a613888f629e3b2c2a21bea9c66fbbd9\"\n                aria-controls=\"nav-block_a613888f629e3b2c2a21bea9c66fbbd9\"\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_a613888f629e3b2c2a21bea9c66fbbd9\"\n             class=\"momat-anchors__navigation\">\n            <div class=\"momat-anchors__inner\">\n                                    <a href=\"#section1\"\n                       title=\"Scroll to Highlights\"\n                       class=\"momat-anchors__link\">\n                        Highlights                    <\/a>\n                                    <a href=\"#section2\"\n                       title=\"Scroll to About the Sections\"\n                       class=\"momat-anchors__link\">\n                        About the Sections                    <\/a>\n                                    <a href=\"#section3\"\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<h2 class=\"wp-block-heading\" id=\"section1\">Highlights<\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"339\" height=\"800\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/104e4a8d13756dc63b171851183e6b33.jpg\" alt=\"\" class=\"wp-image-181351\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/104e4a8d13756dc63b171851183e6b33.jpg 339w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/104e4a8d13756dc63b171851183e6b33-85x200.jpg 85w\" sizes=\"(max-width: 339px) 100vw, 339px\" \/><figcaption class=\"wp-element-caption\">Kaburaki Kiyokata, <em>Tsukiji Akashi-cho Town,<\/em> 1927, National Important Cultural Properties (Exhibit Dates: September 29\u2013November 15)<br>\ud83c\udd2bKiyoo Nemoto 2026 \/JAA2600126<\/figcaption><\/figure><\/div>\n\n\n<p>Welcome to the MOMAT Collection!<\/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 more than 14,000 works acquired 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 century to the present day through a series of 12 rooms, each with its own specific theme.<\/p>\n\n\n\n<p>Some highlights of the current term are as follows. In Room 1 on the fourth floor, National Important Cultural Properties that are centerpieces of our Nihonga (Japanese-style painting) collection go on view: Kaburaki Kiyokata\u2019s Tsukiji Akashi-cho Town, Shintomi-cho Town, and Hama-cho Gashi Zone in the first term (through November 15) and Yasuda Yukihiko\u2019s Camp at Kisegawa in the second (from November 17). In connection with Takehisa Yumeji: An Artist Who Defined His Era (from October 23) on the first floor, Room 3, \u201cA Taste of Romanticism,\u201d and Room 4, \u201cCaf\u00e9s and Waitresses,\u201d highlight the art and culture of the Taisho era (1912\u20131926). Room 10 on the third floor, \u201cSeeing Stories,\u201d is a special feature with devices that invite visitors to read the works more closely.<\/p>\n\n\n\n<p>Once again this term, we are pleased to offer an extensive selection of works from the MOMAT Collection for you to enjoy at your leisure.<\/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\/09\/820fcfd5ebc59f8c94080679580a29ec-1.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<h2 class=\"wp-block-heading\">National Important Cultural Properties on display<\/h2>\n\n\n\n<p>The National Museum of Modern Art, Tokyo Collection contains 18 items that have been designated 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 long-term loan to the museum.)<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The following National Important Cultural Properties are shown in this period:<\/h3>\n\n\n\n<ul>\n<li>Room 1 Kaburaki Kiyokata, <em>Tsukiji Akashi-cho Town<\/em>, 1927 (Exhibit Dates: September 29\u2013November 15)<\/li>\n\n\n\n<li>Room 1 Kaburaki Kiyokata, <em>Shintomi-cho Town<\/em>, 1930 (Exhibit Dates: September 29\u2013November 15)<\/li>\n\n\n\n<li>Room 1 Kaburaki Kiyokata, <em>Hama-cho Gashi Zone<\/em>, 1930 (Exhibit Dates: September 29\u2013November 15)<\/li>\n\n\n\n<li>Room 1 Yasuda Yukihiko, <em>Camp at<\/em> <em>Kisegawa<\/em>, 1940\/41 (Exhibit Dates: November 17, 2026-January 11, 2027)<\/li>\n\n\n\n<li>Room 2 Harada Naojiro,\u202f<em>Kannon Bodhisattva Riding the Dragon<\/em>, 1890, Long term loan (Gokokuji Temple Collection)<\/li>\n\n\n\n<li>Room 2 Yorozu Tetsugoro,\u202f<em>Nude Beauty<\/em>, 1912<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-3 is-cropped wp-block-gallery-1 is-layout-flex\">\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"339\" height=\"800\" data-id=\"181351\"  src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/104e4a8d13756dc63b171851183e6b33.jpg\" alt=\"\" class=\"wp-image-181351\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/104e4a8d13756dc63b171851183e6b33.jpg 339w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/104e4a8d13756dc63b171851183e6b33-85x200.jpg 85w\" sizes=\"(max-width: 339px) 100vw, 339px\" \/><figcaption class=\"wp-element-caption\">Kaburaki Kiyokata, <em>Tsukiji Akashi-cho Town<\/em>, 1927<br>\ud83c\udd2bKiyoo Nemoto 2026 \/JAA2600126<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"343\" height=\"800\" data-id=\"181347\"  src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/d6521706ba0e9dab557ee9acf8fb2d40.jpg\" alt=\"\" class=\"wp-image-181347\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/d6521706ba0e9dab557ee9acf8fb2d40.jpg 343w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/d6521706ba0e9dab557ee9acf8fb2d40-86x200.jpg 86w\" sizes=\"(max-width: 343px) 100vw, 343px\" \/><figcaption class=\"wp-element-caption\">Kaburaki Kiyokata, <em>Shintomi-cho Town<\/em>, 1930<br>\ud83c\udd2bKiyoo Nemoto 2026 \/JAA2600126<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"343\" height=\"800\" data-id=\"181355\"  src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/2d451ea6a9d65d073690d7756ded0f84.jpg\" alt=\"\" class=\"wp-image-181355\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/2d451ea6a9d65d073690d7756ded0f84.jpg 343w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/2d451ea6a9d65d073690d7756ded0f84-86x200.jpg 86w\" sizes=\"(max-width: 343px) 100vw, 343px\" \/><figcaption class=\"wp-element-caption\">Kaburaki Kiyokata, <em>Hama-cho Gashi Zone<\/em>, 1930<br>\ud83c\udd2bKiyoo Nemoto 2026 \/JAA2600126<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"800\" data-id=\"181396\"  src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/r8-1_04.jpg\" alt=\"\" class=\"wp-image-181396\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/r8-1_04.jpg 800w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/r8-1_04-200x200.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/r8-1_04-150x150.jpg 150w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/r8-1_04-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-element-caption\">Yasuda Yukihiko, <em>Camp at Kisegawa<\/em>, 1940\/41<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"531\" height=\"800\" data-id=\"177975\"  src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/7bd74e2c0c4a542175b0413518eeaddc.jpg\" alt=\"\" class=\"wp-image-177975\" 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 Naojiro,\u202f<em>Kannon Bodhisattva Riding the Dragon, <\/em>1890, Long term loan (Gokokuji Temple Collection)<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"474\" height=\"800\" data-id=\"177915\"  src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/04\/15047e35e260a204c2bab7a43bad4248.jpg\" alt=\"\" class=\"wp-image-177915\" 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 Tetsugoro, <em>Nude Beauty<\/em>, 1912<\/figcaption><\/figure>\n<\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"section2\">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\">A Room With A View<\/h4>\n\n\n\n<p>Located on the top floor of the museum, the rest area is furnished with 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.<\/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 don\u2019t 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<h4 class=\"wp-block-heading\">Room 1-5 1880s-1940s<\/h4>\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\/08\/66d7511cf2c57ef9ce9927567e9ab43e.jpg\" alt=\"\" class=\"wp-image-181343\" width=\"150\" height=\"182\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/66d7511cf2c57ef9ce9927567e9ab43e.jpg 600w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/66d7511cf2c57ef9ce9927567e9ab43e-165x200.jpg 165w\" sizes=\"(max-width: 150px) 100vw, 150px\" \/><figcaption class=\"wp-element-caption\">Maruki Toshi,<em> Self-Portrait,<\/em> 1947<\/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 nearly 200 items in a 3,000-square-meter space. The \u201cHighlights\u201d section of this exhibition features highly prized works of modern and contemporary art that showcase the strengths of our collection. <\/p>\n\n\n\n<p>This edition\u2019s selection of Nihonga (Japanese-style paintings) is especially splendid. In the first term (through November 15), a long-awaited moment finally arrives: Kaburaki Kiyokata\u2019s Natonal Important Cultural Properties, <em>Tsukiji Akashi-cho Town<\/em> (1927), <em>Shintomi-cho Town <\/em>and<em> Hama-cho Gashi Zone<\/em> (both 1930), will at last go on display in a MOMAT Collection exhibition for the first time in seven years. Then, during the second term (from November 17), visitors can see Yasuda Yukihiko\u2019s <em>Camp at Kisegawa <\/em>(1940\/41), a National Important Cultural Property, and Kayama Matazo\u2019s brilliantly decorative <em>Waves in Spring and Autumn<\/em> (1966), perfectly suited to the season. We invite you to enjoy these works, which rank among the most beloved in our entire Nihonga collection. <\/p>\n\n\n\n<p>Outside the display cases, visitors will find a richly varied lineup, spanning the 1890s to the 1980s and encompassing Nihonga, oil painting, photography, and sculpture.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room 2 Art of the Meiji Era<\/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=\"800\" height=\"570\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/c4dbbb3aee5eef21ae1fcbd0dc42a5bc.jpeg\" alt=\"\" class=\"wp-image-181359\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/c4dbbb3aee5eef21ae1fcbd0dc42a5bc.jpeg 800w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/c4dbbb3aee5eef21ae1fcbd0dc42a5bc-200x143.jpeg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/c4dbbb3aee5eef21ae1fcbd0dc42a5bc-768x547.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-element-caption\">Aoki Shigeru, <em>Destiny<\/em>, 1904<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>In this room, which kicks off a historical overview of works from the collection, we present works produced from the mid-1880s through the early 1910s. <\/p>\n\n\n\n<p>This approximately 30-year period began about 20 years after the end of the Edo Period (1603\u20131868). These years saw the state of Japanese art change drastically. At the time, many artists sought to bring Japanese art into a new era by combining European standards and homegrown originality in a balanced manner. How should the two be blended? The search for answers plunged them into an all-encompassing process of trial and error. In the results we see the old and the new, confusion of subject matter, mismatch of subject and style, and as-yet-unmastered technique. To present-day viewers who are familiar with subsequent \u201cmodern-looking\u201d modern art, their endeavors can be both bizarre and intriguing, but at what point exactly did art begin to be modern-looking? With this question in mind, please enjoy this journey into the formation of modern art in Japan.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room 3 A Taste of Romanticism<\/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-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"942\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/7ee356a96b4c01f9f325a0f2b164c1fe-1024x942.jpg\" alt=\"\" class=\"wp-image-181105\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/7ee356a96b4c01f9f325a0f2b164c1fe-1024x942.jpg 1024w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/7ee356a96b4c01f9f325a0f2b164c1fe-200x184.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/7ee356a96b4c01f9f325a0f2b164c1fe-768x707.jpg 768w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/7ee356a96b4c01f9f325a0f2b164c1fe-1536x1413.jpg 1536w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/7ee356a96b4c01f9f325a0f2b164c1fe-2048x1885.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Fujishima Takeji, <em>Perfume<\/em>, 1915<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>Roughly a century ago, Japan experienced the fleeting yet intensely charged years of the Taisho era (1912\u20131926). As Western civilization took root and fusions of Japanese and Western style came into favor, the culture of so-called Taisho Romanticism blossomed. In visual art in particular, Takehisa Yumeji\u2019s \u201cYumeji-style beauties\u201d captured the public imagination, and his melancholy, modern images of women became widely popular. Active as both a painter and a designer, Yumeji worked in a wide range of fields, designing an exhibition poster for Arima Satoe and the bindings for books by his close friend Arishima Ikuma, and he influenced the work of Onchi Koshiro, Koga Harue, Kishida Ryusei, and others. The romantic manner then in vogue was also pursued by Fujishima Takeji and Okada Saburosuke, both of whom Yumeji admired, and by Hashiguchi Goyo, an innovative printmaker and designer. <\/p>\n\n\n\n<p>Meanwhile, the Taisho era and the early years of the Showa era (1926\u20131989) saw a mounting impulse to liberate the emotions and pursue individual freedom. Murayama Kaita, Tobari Kogan, and Yanase Masamu produced works that contemplate human life, while the urban and foreign scenes depicted by Kawakami Sumio (on view during the first term) and Yamamoto Kanae (on view during the second term) mirror changing times. <\/p>\n\n\n\n<p>Through these works, we invite you to savor the complex flavor of Romanticism that enriched the Taisho years.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room 4 Caf\u00e9s and Waitresses<\/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\/08\/9e0a381dfedf66d8f6f8aff839bd8dab.jpg\" alt=\"\" class=\"wp-image-181287\" width=\"268\" height=\"197\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/9e0a381dfedf66d8f6f8aff839bd8dab.jpg 800w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/9e0a381dfedf66d8f6f8aff839bd8dab-200x148.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/9e0a381dfedf66d8f6f8aff839bd8dab-768x567.jpg 768w\" sizes=\"(max-width: 268px) 100vw, 268px\" \/><figcaption class=\"wp-element-caption\">Hasegawa Toshiyuki, <em>Cafe Paulista<\/em>, 1928<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>The caf\u00e9 was an icon of the Taisho era (1912\u20131926). A fashionable social venue where coffee, alcoholic beverages, and food were served in a Western-style setting, it became a favorite subject for the painters of the day. It was modeled on the caf\u00e9s of Paris, where those who waited tables were men (<em>gar\u00e7ons<\/em>, literally \u201cboys\u201d). In Japan, by contrast, a defining feature was the presence of waitresses, who brought food and drinks and conversed with customers (although waitresses were absent from some caf\u00e9s, such as Caf\u00e9 Paulista). Here, along with the paintings, we might also consider the perspectives of the waitresses depicted. In newspapers from the time, we see that waitresses, who were often seen as passive figures subservient to customers, made statements that subvert this view. During the Taisho era, the women\u2019s emancipation movements flourished amid a broader liberal climate. Caf\u00e9s where waitresses entertained customers were later classified by the authorities as \u201cspecial dining establishments,\u201d and the term <em>junkissa<\/em>, literally \u201cpure caf\u00e9,\u201d arose to distinguish other coffee houses from them. As you view these works, we invite you to envision a milieu quite different from the coffee shops that the word \u201ccaf\u00e9\u201d evokes today.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room 5 Art of the 1920s and 1930s: The Dynamism of Destruction and Creation<\/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\/08\/e7dafa3cf4adf99be13c193c8760449b.jpg\" alt=\"\" class=\"wp-image-181291\" width=\"200\" height=\"147\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/e7dafa3cf4adf99be13c193c8760449b.jpg 800w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/e7dafa3cf4adf99be13c193c8760449b-200x147.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/e7dafa3cf4adf99be13c193c8760449b-768x563.jpg 768w\" sizes=\"(max-width: 200px) 100vw, 200px\" \/><figcaption class=\"wp-element-caption\">Murayama Tomoyoshi, <em>Construction<\/em>, 1925<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>During the interwar period (1918\u20131939) between World War I and World War II, Japan was struck by the devastating Great Kanto Earthquake of 1923. Having experienced the destruction, fear, and anxiety brought about by war and large-scale disaster, artists were driven beyond realistic depictions of the visible world toward the creation of new forms of art. Murayama Tomoyoshi\u2019s Construction, for example, brings unrelated fragments, including pieces of metal, scraps of cloth, and hair, into relation with one another, assembling them into a whole in search of new meaning. Other works, by Delaunay, Klee, Yamaguchi Takeo, and others, pursued abstraction through line, form, and color. Still others drew on Surrealism, as exemplified by artists such as Ernst and Tanguy, and sought irrational beauty in places beyond the reach of human reason. The period gave rise to an extraordinary range of artistic practices. <\/p>\n\n\n\n<p>The works presented here, often described as avant-garde, unite free invention with the individuality of each artist, revealing the dynamism particular to this era.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">3F (Third floor)<\/h2>\n\n\n\n<p>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)<br>Room to Consider the Building (<a href=\"https:\/\/www.momat.go.jp\/en\/magazine\/033\">Sol LeWitt<\/a>,\u202f<a href=\"https:\/\/www.momat.go.jp\/en\/magazine\/033\">Wall Drawing#769<\/a>)<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room 6 How Should Painters Contribute?<\/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\/08\/2e095649b9605dd4c3f28c85d360c267.jpg\" alt=\"\" class=\"wp-image-181295\" width=\"225\" height=\"382\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/2e095649b9605dd4c3f28c85d360c267.jpg 470w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/2e095649b9605dd4c3f28c85d360c267-118x200.jpg 118w\" sizes=\"(max-width: 225px) 100vw, 225px\" \/><figcaption class=\"wp-element-caption\">AI-MITSU, <em>Self-Portrait,<\/em> 1944<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>\u201cAll citizens must support the war effort.\u201d In wartime Japan, as slogans like this circulated widely, the conditions surrounding painting changed as well. Mid-career painters such as Nakamura Ken\u2019ichi and Koiso Ryohei were commissioned by the military to produce Operation Record Paintings that conveyed the course of the war. These large canvases, which demanded accomplished spatial composition and forceful rendering, also gave these painters a stage on which to display their abilities. <\/p>\n\n\n\n<p>Meanwhile, young painters then in their 20s and 30s, such as Ai-Mitsu, Aso Saburo, and Matsumoto Shunsuke, formed Shinjingakai as rationing of art supplies and censorship grew more severe. The subjects they painted, including self-portraits and family members, asserted the autonomy of the individual within society while also attesting to an age in which even securing models had become difficult. Ai-Mitsu was deployed to China as a soldier and never returned. It was a time when young and old alike were mobilized for war. Kobayashi Mango\u2019s Sunrise Over the Sea was shown in the <em>Exhibition by Imperial Art Academy Members for the Donation of Battleships<\/em>, which was held to raise funds for naval construction. This seasoned painter in his 70s responded to the times by depicting a calm seascape.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room 7 Higashiyama Kaii and the Nordic Countries<\/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\/08\/dac4bd9c483ce26f99126b9bb9cc98d3.jpg\" alt=\"\" class=\"wp-image-181299\" width=\"150\" height=\"187\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/dac4bd9c483ce26f99126b9bb9cc98d3.jpg 600w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/dac4bd9c483ce26f99126b9bb9cc98d3-160x200.jpg 160w\" sizes=\"(max-width: 150px) 100vw, 150px\" \/><figcaption class=\"wp-element-caption\">Higashiyama Kaii, <em>Flowery Transformation<\/em>, 1964<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>Higashiyama Kaii was a Nihonga (Japanese-style painting) painter widely admired for his lucid landscapes. Here we present three large-scale works from this museum\u2019s holdings of his art, all based on his postwar travels in Nordic countries, together with the print portfolio <em>At the Old Town: Journey in North Europe<\/em> (1964). <\/p>\n\n\n\n<p>In 1962, soon after direct flights to the Nordic region began, Kaii spent about three months traveling through Denmark, Sweden, Norway, and Finland, an experience that gave rise to numerous works. The museum\u2019s collection includes <em>Reflected Images <\/em>(1962), depicting Nordingr\u00e5 in Sweden, <em>Polar Summer Night<\/em> (1965), based on Kuopio in Finland, and <em>Flowery Transformation <\/em>(1964), which distills his vision of the Nordic countries in a single image. Higashiyama\u2019s admiration for the Nordic countries had its roots in a book of photographs of Denmark\u2019s lakes and forests given to him by his wife\u2019s father, the Nihonga painter Kawasaki Shoko. Kaii is said to have been astonished to find that landscapes resembling his own inner visions actually existed. This exhibition also features the book of photographs he consulted, offering a rare opportunity to trace the origins of his mysterious landscapes.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room 8 Making as Little as Possible<\/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\/08\/4aa7685e72d5ed15c611768eb73c2d4d.jpg\" alt=\"\" class=\"wp-image-181303\" width=\"98\" height=\"241\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/4aa7685e72d5ed15c611768eb73c2d4d.jpg 324w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/4aa7685e72d5ed15c611768eb73c2d4d-81x200.jpg 81w\" sizes=\"(max-width: 98px) 100vw, 98px\" \/><figcaption class=\"wp-element-caption\">Yoshikawa Shizuko, <em>Alteration\u20132<\/em>, 1987<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>Around the end of the 1960s, as if in sync with the cooling of fervent anti-establishment movements led largely by young people, quiet and at times severe-looking works began emerging in many parts of the world almost at once. Artists began to distance themselves from emotive modes of art and to inquire into what the essence of a work of art might be. Techniques intended to please the eye fell under suspicion, titles grew simple, forms were pared down, and color grew scarce. In a sense, this was an experiment in creating art while making as little as possible. Some artists pursued pure, sharply refined forms, while others incorporated symbols such as dates. Claude Viallat dyed unstretched cloth, while Takamatsu Jiro and Yoshikawa Shizuko turned their attention to shadow, a phenomenon with no physical substance. The stance of \u201cmaking without making\u201d comes through clearly in the indirect quality of such artists\u2019 approach to both subject and method.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room 9 Tamura Akihide: House and Road<\/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 is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/731f10040b27e1ef947b88f932ed1a1a.jpg\" alt=\"\" class=\"wp-image-181307\" width=\"224\" height=\"230\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/731f10040b27e1ef947b88f932ed1a1a.jpg 298w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/731f10040b27e1ef947b88f932ed1a1a-194x200.jpg 194w\" sizes=\"(max-width: 224px) 100vw, 224px\" \/><figcaption class=\"wp-element-caption\">Tamura <em>Akihide, House<\/em>, 1967-68<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>Here we present two early works by Tamura Akihide, <em>House and Road. House<\/em>, his graduation project in the advanced course at Tokyo College of Photography, is among the early signature works of a photographer recognized from the start of his career, and it was included in the exhibition <em>New Japanese Photography <\/em>at The Museum of Modern Art, New York, in 1974. <\/p>\n\n\n\n<p>Both works appear to be exercises in so-called fixed-point observation, but Tamura\u2019s method differs somewhat from the usual practice of shooting regularly from the same viewpoint. <em>House<\/em>, set on a parcel of land cleared for residential development near his home, opens with four photographs taken one summer evening during a thunderstorm, followed by four more made at irregular intervals from autumn into winter, and a final four images of lightning on separate days the following summer. The position of the camera shifts as freely as the timing. <\/p>\n\n\n\n<p>Rather than following a predetermined procedure, Tamura seems to have responded to the weather and the changing seasons in a familiar landscape, as well as to the construction of houses there and the lives that began to unfold in them, shooting as the moment came until a single connected work took shape. The photographer Ohtsuji Kiyoji described what Tamura\u2019s singular sensibility caught here as change so gradual the eye cannot register it.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room 10 (Dates: September 29\u2013November 15) Seeing Stories \/ \u201cD\u00e4monisch\u201d?<\/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\/08\/807ee90cce2bdec9d152e228bf36987b.jpg\" alt=\"\" class=\"wp-image-181315\" width=\"245\" height=\"201\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/807ee90cce2bdec9d152e228bf36987b.jpg 490w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/807ee90cce2bdec9d152e228bf36987b-200x164.jpg 200w\" sizes=\"(max-width: 245px) 100vw, 245px\" \/><figcaption class=\"wp-element-caption\">Iwasaki Hajin, <em>Monsters Haunting at Night <\/em>(detail), 1969<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>The area in the front features works on the theme of \u201cstories.\u201d Our world is filled with all manner of stories, including myths and old folktales. They do more than teach lessons or morals, at times revealing the light and darkness of the human heart, which is prone to folly and cruelty. To offer a wide range of visitors an enjoyable experience of the works, we have prepared visual and textual prompts that offer entry points into them. We invite you to truly see these stories, taking note of the messages concealed deep within them and to how the artists give them form. <\/p>\n\n\n\n<p>The area at the rear presents works possessing a quality expressed with the German word d\u00e4monisch. From the late 1950s through the 1960s, this was a term favored by cultural figures such as the novelist Kawabata Yasunari and the poet Yamamoto Taro when discussing contemporary Nihonga (Japanese-style painting). Its meaning is ambiguous, but it seems to have described an unsettling allure that borders on the grotesque and holds the viewer in its grip. Here we extend the time frame and seek a<em> d\u00e4monisch<\/em> quality in Nihonga paintings produced from the 1920s onward.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room 10 (Dates: November 17, 2026-January 11, 2027) Seeing Stories \/ Art of the Night<\/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=\"377\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/3c291dfb5a335de65fbed474d8c55820.jpg\" alt=\"\" class=\"wp-image-181319\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/3c291dfb5a335de65fbed474d8c55820.jpg 800w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/3c291dfb5a335de65fbed474d8c55820-200x94.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/3c291dfb5a335de65fbed474d8c55820-768x362.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-element-caption\">Omoda Seiju, <em>Scroll of Insects and Fishes <\/em>(detail), 1931 (Exhibit Dates: November 17, 2026-January 11, 2027)<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>The area in the front features works on the theme of \u201cstories.\u201d Our world is filled with all manner of stories, including myths and old folktales. They do more than teach lessons or morals, at times revealing the light and darkness of the human heart, which is prone to folly and cruelty. To offer a wide range of visitors an enjoyable experience of the works, we have prepared visual and textual prompts that offer entry points into them. We invite you to truly see these stories, taking note of the messages concealed deep within them and to how the artists give them form. <\/p>\n\n\n\n<p>In the area at the rear, we present night scenes in Nihonga (Japanese-style painting) and explore their breadth of subject matter in response to their times. For example, <em>Milky Way Galaxy,<\/em> one of seven works by Otake Chikuha, could only have been painted in an age when scientific knowledge and interest in astronomy had spread widely. Yokoyama Taikan\u2019s <em>Night at South Sea<\/em> depicts a night scene in the South Pacific during World War II. Sugiyama Yasushi shows the same darkness descending even on the Sphinx in Egypt, a place brought closer than before by the liberalization of overseas travel.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">2F (Second floor)<br>Room 11\u201312 1970s\u20132020s<br>From the End of the Showa Period to the Present<\/h2>\n\n\n\n<h3 class=\"wp-block-heading\">Room 11 Images: What I Am Doing<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-39\">\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:22.33%\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"946\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/5eb1cd41dd9b4cee96735f47ce9e7512-1024x946.jpg\" alt=\"\" class=\"wp-image-181367\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/5eb1cd41dd9b4cee96735f47ce9e7512-1024x946.jpg 1024w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/5eb1cd41dd9b4cee96735f47ce9e7512-200x185.jpg 200w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/5eb1cd41dd9b4cee96735f47ce9e7512-768x710.jpg 768w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/5eb1cd41dd9b4cee96735f47ce9e7512.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Yamazawa Eiko, <em>What I am doing<\/em> No.78, 1986<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:8%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>This room presents contemporary art from the 1970s through the 1990s, seen through the lens of how abstraction unfolded in photography and painting. <\/p>\n\n\n\n<p>Last year the museum acquired nine works from photographer Yamazawa Eiko\u2019s landmark series <em>What I Am Doing<\/em> (1976\u20131986). Yamazawa studied painting in Japan and turned toward photography after moving to the United States. In the 1950s, she encountered Abstract Expressionism and pursued forms of abstraction specific to the medium of photography. Her large-format prints, reminiscent of canvases, were a groundbreaking undertaking for their time. <\/p>\n\n\n\n<p>In painting from the 1980s onward, after the heyday of Minimalism, artists began to reconsider the meaning of painting and the possibilities of the medium. Painters including Tatsuno Toeko explored color, form, and composition as they searched for new modes of abstract painting. In a period when many artistic currents converged, artists asked themselves what the present moment meant to them. We invite you to look at the varied forms of art that emerged from this inquiry.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Room 12 Image: Familiar Things, Unfamiliar Worlds<\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-42\">\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\/08\/6d290e606fbd854a0d227b3446d9e841.jpg\" alt=\"\" class=\"wp-image-181327\" width=\"233\" height=\"251\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/6d290e606fbd854a0d227b3446d9e841.jpg 600w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2026\/08\/6d290e606fbd854a0d227b3446d9e841-186x200.jpg 186w\" sizes=\"(max-width: 233px) 100vw, 233px\" \/><figcaption class=\"wp-element-caption\">Nara Yoshitomo, <em>Harmless Kitty,<\/em> 1994<br>\u00a9Yoshitomo Nara<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>This room highlights developments in contemporary art from the 1990s through the 2000s. Many of the works featured here include things that may seem close to our everyday lives, such as pictures resembling anime characters, parks, and children\u2019s clothing. At first glance, they may strike us as charming and approachable. Look closely, though, and some works prove slightly bizarre, stir unease, or contain satirical messages directed at society. <\/p>\n\n\n\n<p>The artists who emerged in this period belonged to a generation that grew up surrounded by anime, manga, and mass-produced goods, from toys to household items. What happens to people in a society saturated with images and objects? What is the nature of daily life in such an age? These artists produced new forms of art while engaging with such questions. Take note of how the mood of the age and the artists\u2019 own perspectives make themselves felt within the works.<\/p>\n<\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"section3\">Hours &amp; Admissions\u3000<\/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>September 29, 2026\u2013January 11, 2027<\/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\u202f(except October 12, November 23, January 11), October 22, November 24 and December 28-January 1<\/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\u20135 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)\u202f<br>College and university students \u00a5250 (200)\u202f<\/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.\u202f<\/li>\n\n\n\n<li>Free for high school students, under 18, seniors (65 and over), Campus Members, MOMAT passport holder.\u202f<\/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).\u202f<\/li>\n\n\n\n<li>Persons with disability and one person accompanying them are admitted free of charge.\u202f<\/li>\n\n\n\n<li>Members of the MOMAT Corporate Partners are admitted free with their staff ID.\u202f<\/li>\n\n\n\n<li>Including the admission fee for\u202f<a href=\"https:\/\/www.momat.go.jp\/en\/exhibitions\/r8-2-g4\">MOMAT Collection<\/a> Focus (Gallery 4)\u202f<\/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)\u202f<br>Adults \u00a5300\u202f<br>College and university students \u00a5150\u202f<\/p>\n\n\n    <\/dd>\n<\/div>\n\n\n<\/dl>\n\n\n<dl class=\"momat-dl\">\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","protected":false},"featured_media":0,"template":"","exhibition_type":[],"exhibition_year":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>MOMAT Collection\uff082026.9.29\u20132027.1.11\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\/momat-collection\uff082026-9-29-2027-1-11\uff09\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"MOMAT Collection\uff082026.9.29\u20132027.1.11\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! 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 more than 14,000 works acquired 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 century to the present day through a series of 12 rooms, each with its own specific theme. Some highlights of the current term are as follows. 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