Spanning over 60 years of contemporary sculpture, this exhibition highlights ways in which artists draw on familiar experiences of movement, flux and organic growth.
Woven Histories delves into dynamic moments when social and political issues have activated textile production and artmaking with heightened focus and urgency. Traced chronologically with 160 works made in a range of techniques—from oil painting to weaving, basketry, netting, knotting, and knitting—the exhibition explores the overlap between abstract art, fashion, design, and craft.
The exhibition presents drawings, collages, watercolors, and sketchbooks alongside stamped prints, paperfolds, and copper-foil works, showing the breadth of Asawa’s innovative practice.
This second installation in the Fang Family Launchpad is a masterful example of the suspended, abstract works of looped wire for which Asawa is best known.
The first solo presentation of Asawa’s work in Greater China, the exhibition provides an overview of the artist’s wide-ranging practice, focusing in particular on her affinity for the natural world, which in turn provided a constant source of inspiration in her art.
The Collection 2 exhibition focuses on the way artists undo and redo existing materials, structures, and history along with the state of their works. As a starting point, we look at pieces by Louise Bourgeois and Leonor Antunes that were acquired by the museum in 2023, and a work by Ruth Asawa that was acquired in 2024 and is being shown here for the first time in Japan.
Ruth Asawa: Retrospective presents the full range of the artist’s groundbreaking practice, offering an in-depth look at her expansive output and its inspirations through more than 300 artworks.
An in-depth exhibition that delves into the dynamic intersections between weaving and abstraction. The exhibition’s final presentation will include numerous works not seen at earlier venues.
Color has challenged and fascinated printmakers since the Renaissance. This exhibition explores technological and artistic revolutions in color printmaking from the 16th century through today.
“I’m not so interested in the expression of something. I’m more interested in what the material can do. So that’s why I keep exploring,”