Kensaku Kakimoto’s “Always Now - Light Reflected in the Glass”: Why Blur the World in an Age of Perfect Images?

Laforet Harajuku Becomes a Giant Playground: Inside Masaki Hanahara’s “LAFORET THE PLAYGROUND”

What Does It Mean to See the Invisible? Asami Kiyokawa and Kohei Nawa’s Invisible Garden

Japanese Culture Has Many Forms: Isetan Shinjuku’s JAPAN SENSES Explores Japan’s Creative Present

Noritaka Tatehana and the “Hands” Behind 15 Years of Creation: Rethink Noritaka Tatehana — In the Hands of Time

Gen’ichirō Inokuma’s 20 Years in New York: Art, Friendship, and Reinvention at Japan Society Gallery

The 73rd Japan Traditional Kōgei Exhibition at Nihombashi Mitsukoshi: Around 550 Works from Living National Treasures to Emerging Artists

King & Prince’s Kaito Takahashi to Hold His First Solo Exhibition, “Fushigi na Seroru Exhibition”—A Creative World Expanding from Seroru

Noritaka Tatehana Rethinks 15 Years of Creation Through Handwork at Joshibi Art Museum

Neither Art Becoming Clothing nor Clothing Becoming Art — A-POC ABLE ISSEY MIYAKE × Tomokazu Matsuyama Creates a New Structure of Expression

MARC JACOBS Unveils Its Fall 2026 Collection with Artist Collaborations at Pop-Up Stores in Tokyo and Osaka

I’m So Happy You Are Here: Rewriting the History of Japanese Photography Through the Eyes of Women

Why Does Ultraman Continue to Be Reimagined?—SHUWATCH with U and 60 Years of Imagination

20 Years After The Girl Who Leapt Through Time: Tracing the Creative Origins of Mamoru Hosoda

Gucci Discovers Japanese Beauty Through Cloisonné—A Dialogue of Flora and Kachōfūgetsu with Ando Cloisonné

Can Humans Become Cameras? Why JINS and Sigma Joined Hiroshi Sugimoto's CAMERA MAN