TADAAKI KUWAYAMA
Alison Bradley Projects
March 10 - May 7, 2022

TADAAKI KUWAYAMA
Alison Bradley Projects
March 10 - May 7, 2022
Curated by Gabriela Rangel
Alison Bradley, Principal
Ise Henriques Sharp, Gallery Associate
Rebecca Humphreys, Special Projects and Research
Eimi Tagore-Erwin, Curator

Table of Contents

Introduction
Press Release
Curatorial Statement
TK10173/8-60
TK7549-61
TK4612-3/4-64
TK7623-5/8-67
TK5610-1/2-82
TK28-2-1/4-02
TK37-7/8-16
TK161-22
Biography
Exhibitions

Introduction
Tadaaki Kuwayama (b. Nagoya, 1932) arrived in New York in 1958, shortly after his graduation from Tokyo
University of the Arts where he trained in the Japanese traditional painting style of nihonga. Rejecting nihonga’s
strict aesthetic principles, Kuwayama came to eschew all modes of representation, instead dedicating his careerin the United States, now in its seventh decade, to the creation of pure art without history.
Acclaimed as a pioneer of Minimalism in the 1960s, Kuwayama never thought of his work as such. Despite
formal affinities with what later came to be critically constructed as post-painterly abstraction, Kuwayama’s
commitment to non-compositional works and investigation of color, material, and space have always been on his
own terms. His work considers the experience of perception—the interaction between his works and theaudience within space is central to his practice.
This exhibition gathers key historic works that attest to the artist's contribution to expanding the limits of theart object as presence through the reflective properties of color and the interplay of the art object in space.
Kuwayama’s paintings from the 1960s capture the artist’s striking shift away from his nihonga training—themore gestural use of black pigment and incorporation of silver and gold leaf in these works made way for his
continued experiments with more industrial materials such as acrylic, metallic oils, and aluminum. Serial works
from the 1980s and early 2000s highlight the artist’s spatial turn, in which Kuwayama has used a multitude ofapproaches to challenge the boundaries of aesthetics, collapsing the distinctions between painting and sculpture,art and architecture. His particular attention to placement, repetition, and the reflective properties of paint andmetal are in constant dialogue with the spatial environment, an awareness that is experienced in the viewing
space.
Curated by Gabriela RangelPress Release
Alison Bradley Projects is pleased to present TADAAKI KUWAYAMA, curated by Gabriela Rangel.
Tadaaki Kuwayama (b. Nagoya, 1932) arrived in New York in 1958, shortly after his graduation from Tokyo
University of the Arts where he trained in the Japanese traditional painting style of nihonga. Rejecting nihonga’s
strict aesthetic principles, Kuwayama came to eschew all modes of representation, instead dedicating his careerin the United States, now in its seventh decade, to the creation of pure art without history.
Acclaimed as a pioneer of Minimalism in the 1960s, Kuwayama never thought of his work as such. Despite
formal affinities with what later came to be critically constructed as the “minimalist” mode of post-painterly
abstraction, Kuwayama’s commitment to non-compositional works and investigation of color, material, andspace have always been on his own terms. The artist was interested in Color Field paintings, in particular the
principle that paintings could be subjects in and of themselves. Kuwayama’s work considers the experience ofperception—the interaction between his works and the audience within space is central to his practice. Hisdistinctive style deliberates materiality itself, typified by monochrome compositions devoid of excessive andexpressive elements.
Gabriela Rangel’s selection for TADAAKI KUWAYAMA gathers key historic works that attest to the artist's
contribution to expanding the limits of the art object as presence through the reflective properties of color and theinterplay of the art object in space. Kuwayama’s paintings from the 1960s capture the artist’s crucial shift awayfrom his nihonga training—the more gestural use of black pigment and incorporation of silver and gold leaf inthese works made way for his continued experiments with more industrial materials such as acrylic, metallic oils,
and aluminum. Serial works from the 1980s and early 2000s highlight the artist’s spatial turn, in which
Kuwayama has used a multitude of approaches to challenge the boundaries of aesthetics, collapsing thedistinctions between painting and sculpture, art and architecture. His particular attention to placement,
repetition, and the reflective properties of paint and metal are in constant dialogue with the spatialenvironment, an awareness that is experienced in the viewing space.
Quickly establishing himself as an active member of the avant-garde in New York, Kuwayama was wellacquainted with art world luminaries such as Kenzо̄ Okada, Sam Francis, Donald Judd, Dan Flavin, and Frank
Stella. His first solo show was held at Green Gallery in 1961, the prominent vanguard gallery run by eccentric
art dealer Richard Bellamy, and his striking work was included in Systemic Painting, the emblematic
exhibition organized by art critic Lawrence Alloway at the Guggenheim in 1966. Kuwayama has been thesubject of countless solo and group exhibitions around the world, and his work is included in the collections ofinstitutions such as the Guggenheim Museum and MoMA in New York, the Foundation for Constructivist,
Concrete and Conceptual Art in Zürich, and the National Museum of Modern Art in Tokyo.
Tadaaki Kuwayama currently works and resides in New York City with his wife and fellow artist Rakuko Naito.

Curatorial Statement
Tadaaki Kuwayama was trained in Tokyo in a Japanese style of traditional painting known as nihonga, theaesthetic principles of which he incorporated and ultimately rejected in the years following his move to theUnited States. Kuwayama states: “I never thought I was a Minimalist artist. That came later. Maybe art critics
gave it that name. I wanted to make pure art without history. That’s what I wanted, and I still try to do it thatway—my art has not changed much since those days.” According to the literature on his early years in New
York, Kuwayama was influenced by Color Field paintings’ over-dimensional size and impersonal approach to
chromatic tenets that declared painting as an object that transcends subjectivity and representation. Acquainted
with Sam Francis, Donald Judd, and Frank Stella, it is not accidental that Kuwayama exhibited work at Green
Gallery in 1961 and in emblematic group shows of the period such as the Guggenheim’s Systemic Painting in
1966.
Emerging in the 1960s as a historical and critical construction, Minimalism is a synonym for a broader art
tendency also called ABC art, Literalism, Object Art, and Specific Objects, among other rubrics. The movement
is mostly defined by its adversaries—notably, Clement Greenberg and Michael Fried, who provided thetheoretical tools to frame Minimalism as a depersonalized and reductive variant of geometric art produced in the
postwar era through industrial means. A few artists embraced the new tendency and provided discursive clues
for the understanding of this “new sensibility,” as it was characterized by Barbara Rose, in which the presence ofthe spectator was crucial to complete a relational experience with the object within space.
This exhibition gathers an archipelago of key historic pieces that attest to Tadaaki Kuwayama’s journey from agestural to an objective mode of abstraction. This path prompted him to bring together a groundbreaking
investigation into chromatic potential as a tool that helped redefine the perceptual role of the audience. In thissense, Kuwayama contributed to expanding the limits of the art object as presence through the properties ofcolor. His early paintings, made on paper and wood with organic pigments and silver and gold leaf, blend
Japanese traditional methodologies and materials with an infinite sense of freedom that the artist continues to
explore today. Influenced by American jazz music, Kuwayama merged his practice of monochrome with chance
during his first years in New York. This strategy later evolved in the mid-1960s into serial works made withindustrial materials and experimentation with paint application, in which the artist’s hand is removed, thus
provoking an in-depth dialogue with space and architecture.
Gabriela Rangel

TK10173/8-60
1960
Signed & dated on verso
Dry black pigment on paper on canvas with tarnished silver leaf
17 3/8 x 17 3/8 in
44.1 x 44.1 cm
PROVENANCE
ArtistThe work TK 10173/8-60 (1960) corresponds to what the artist defines as the Nihonga Period, a transitional
passage during which Kuwayama moved to New York with his wife Rakuko Naito after completing theirdegrees in Japanese painting at Tokyo University of the Arts. Shortly after relocating to the United States,
Kuwayama began to explore a mode of gestural abstraction using non-Western natural pigments, paper, andwood that he learned in his native country. He enrolled at the Art Students League where he met other artists
and became aware of the aesthetic debates that had been triggered after the consolidation of Abstract
Expressionism, and the beginning of Pop Art and other variants of post-painterly abstraction.
Referring to this coming-of-age period, the artist stated: “I know [nihonga’s] materials: pigment and paper.
Those materials I carried to this country […]. I saw Barnett Newman’s work, Sam Francis, Rothko—all these so
impressed me. And I thought, these are great artists, but I won’t follow them. This work is already passé. We
should make another generation of art.”
The groundbreaking early painting TK 10173/8-60 was made through a spontaneous dripping method used byapplying various layers of pigment-based black paint on paper that descended in a cascade. The falling drips at
the bottom of the work traced random vertical lines, in contrast to the upper area of the composition which
consists of a saturated black monochromatic square applied with a brush. In his aim to reject representation, theartist has spoken of his attraction to the non-narrative structure of jazz, a response that can be observed in thisearly work. The use of Japanese materials contrasts to the unplanned, delicate form in which two antagonistic
elements are juxtaposed in the same painting: chance and deliberate flatness.

TK7549-61
1961
Signed & dated on verso
Black dry pigment with aluminum on paper mounted on board with aluminum strip
49 x 33 in
124.5 x 84 cm
PROVENANCE
ArtistKuwayama created TK7549-61 (1961) only two years after he began his career in New York. This work
encapsulates the transitional period of the young artist as he began to turn away from nihonga and commit hispractice fully to exploring the new avant-garde sensibility emerging in the artist circles that he was active
amongst. Layering strips of paper horizontally across the board, Kuwayama created subtle breaks in the verticalcomposition that diffuse the viewer’s eye from the stark contrast of the aluminum strip that seems to almost split
the piece in two. Following the recommendations of close artist friends such as Sam Francis, Kuwayama had
begun to turn to acrylics at this time— for this piece, he combined acrylic paint with dry pigment. This
combination created an emanative, velvety effect with the paint, resulting in a very distinctive surface quality.
The early aesthetic decisions that can be observed in TK7549-61 highlight Kuwayama’s interest in
experimenting with materials and painting outside of history. Viewers must consider the various shifts in thepainting’s surface and texture when viewing it in the exhibition space—in this way, the piece reckons withmateriality itself. This is the first time TK7549-61 has been exhibited.
“Ideas, thoughts, philosophy, reasons, meanings, even the humanity of the artist, do not enter into my work atall. There is only the art itself. That is all.”Kuwayama’s statement for Art in America New Talent USA (1964)

TK4612-3/4-64
1964
Signed & dated on verso
Gold leaf on paper on panel
12 x 12 in
30.5 x 30.5 cm
PROVENANCE
ArtistKuwayama’s series of boxy golden and silver monochromatic paintings from the beginning of the 1960s werecreated during a transitional period in which the artist was getting acquainted to Western modes ofpost-painterly abstraction using materials that he brought from his native Japan.
TK4612-3/4-64 (1964) is one such piece, composed of gold leaf applied to paper on wood in a way thatemphasizes the reflective quality of color. This emphasis is a sign of what became a central feature of
Kuwayama’s work towards the end of the 1960s, in which he applied layers of colors with brush or spray that
produced an iridescent patina on the surface, as well as outsourced the industrial application of color on metallic
media such as aluminum or anodized titanium.
The delicacy of this work made through artisanal methods may deceive an audience that is eager to perceive only
an exoticized approach to the medium. However, Kuwayama’s chromatic exploration places this early work as animportant marker for the artist’s rigorous industrial methodology that matured in New York, allowing him tocreate iridescent metallic hues of pink, brown, silver, gold-yellow, green, and beige, among other unique blendsof color. In short, TK4612-3/4-64 points to the beginning of Kuwayama’s search for a spatial immanence using
color.
Later in his career, Kuwayama’s consistent tonal research would become fully developed using unclassifiablehues that for art historian Michio Hayashi are located outside language. Created in tandem with his aim to
produce art outside history, this early piece articulates his tactical intent to develop a chromatic singularity for
his objects.

TK7623-5/8-67
1967
Signed & dated on verso
Acrylic on canvas stretched over board in polished aluminum frame
23 3/4 x 12 3/4 in
60.3 x 32.4 cm
PROVENANCE
ArtistThe two pieces TK7623-5/8-67 (1967) and TK161-22 (2022), made more than 50 years apart, manifest
Kuwayama’s outstanding knowledge of color, which is materialized in the extremely saturated palette of some of
his monochromatic paintings (yellow, blue, red, black, green, white.) Trained at the art university that claimed tohave reinvented Japanese-style painting, Kuwayama’s expertise on nihonga painting’s techniques—the use oforganic and mineral pigments fixed through a glue made of animal gelatin—allowed him to conduct in-depth
research into color over the years. As a result, the artist adapted the use of water-based industrial pigment by
mixing different colors and applying different layers to the canvas to produce an overflow in hue that projects theobject in space.
At the beginning of the 1960s, Kuwayama learned to use acrylic paint from American artist Sam Francis, one thefew Western figures along with French Michel Tapié who were close to Japanese artists at the time. When asked
by curator Russell Storer about the system of aluminum dividing strips used in his monochrome paintings,
Kuwayama stated: “First I did two panels, multiple panels joined together. If the panels are made in the samecolor, then this is a joint line, right—not a drawn line, which means you cannot deny it. If you paint a line, this isalready to me a composition.”
If Minimalism is considered quintessentially three-dimensional, Kuwayama’s chromatic mark adopts thisprinciple by interrogating the status of the work as an object, its definition, and its aesthetic properties beyond
the psychological realm that lures subjectivity. His works, located in the interstice between painting andsculpture, become set forms installed at a gallery.

TK5610-1/2-82
1982
Signed & dated on verso
Metallic oil painted with palette knife on canvas mounted on masonite board
Each triangle is 10 1/2 in / 26.7 cm on each side
PROVENANCE
ArtistEXHIBITIONS
Similar works exhibited in Mies Van Der Rohe Haus, Berlin July, 2021

According to Donald Judd, who met Kuwayama in the 1960s when both artists crossed paths at Green Gallery
in New York: “The main thing wrong with painting is that it is a rectangular plane placed flat against the wall. A
rectangle is a shape itself; it is obviously the whole shape; it determines and limits the arrangement of whatever ison or inside of it.” Judd’s blatant critique required new spatial configurations and definitions for painting,beyond such a confined and limited language encapsulated in different media for an incommensurable broader
space surrounded by a wider context. In short it required a spatial turn.
Kuwayama’s “Spatial Turn,” a shift towards the gallery space as part of the work beyond the wall, as it was
defined by Mishio Hayashi, is the central point explored in the outstanding TK5610-1/2-82 (1982) installation.
Here a serial work includes both the spatial conditions and the environment where the work is contained andpresented. The six triangles in different hues of metallic oil paint applied with a palette knife are playfully
installed by the artist as an interpretation of the architecture around it. The artist inverts the triangles’ directions
in sequences—as a sort of aleatory rhythmic subversion of the serial order—eventually occupying the walls andcorners of the white cube. Kuwayama’s poetic expansion of space collapses the distinctions between painting
and sculpture, and art and architecture.

TK28-2-1/4-02
2002
Signed & dated on verso
Anodized aluminum, 10 of 26 brackets exhibited at gallery
8 x 8 x 2 ¼ in
20.3 x 20.3 x 5.7 cm
PROVENANCE
ArtistEXHIBITIONS
8 brackets of same series exhibited at Mies Van Der Rohe Haus, Berlin 2021

Seriality was a logical step that Kuwayama undertook after moving forward with his larger-than-life endeavor to
produce “pure art without history.” Repetition prevented a work from becoming unique and compositional.
Systemically produced art was part of the “new sensibility” that arose by the end of the 1950s, taking over thefollowing decade through the principles of repetition and seriality, which constituted the most elementary
systems to resist conventional art practice.
The piece TK28-2-1/4-02 (2002) consists of anodized aluminum brackets that entail the viewers’ scrutiny ofcolor through her or his movement in space. The experience of this piece within the space and in relation to thebody is what has been often identified as the theatrical feature attributed to Minimalism. The installation is partof a larger series of anodized aluminum and titanium works Kuwayama made in blue, red, yellow, green, silver,
and gold. TK28-2-1/4-02 manifests Kuwayama’s entrance into a circuit of production that involved the loss ofmanual control of his work, contradicting an art principle that states that the quality of the work depends on the
manual skill of the maker. Pairing with Donald Judd’s Specific Objects, Kuwayama’s anodized aluminum
brackets avoid any metaphysical intention and become objects that compel the viewers to look at the object andcolor within space—and monochrome, in particular— in an increasingly alienating world of banal objects anddigital screens.
Kuwayama stated: “In 1961 or 62 I made the first monochrome. I think it was red, with a silver wooden
ready-made frame. I didn’t want to make a composition. Sometimes when artists need red, they need a little
yellow here or maybe a blue there to make a composition. I didn’t want that, so I used just one color; this meansno composition.”

TK37-7/8-16
2016
Signed & dated on verso
Anodized titanium, 4 of 30 brackets exhibited at gallery
7.8 x 7.8 x 2 in
20 x 20 x 5 cm
PROVENANCE
ArtistEXHIBITIONS
30 brackets of same series exhibited at Gallery Yamaguchi, 2016

Seriality was a logical step that Kuwayama undertook after moving forward with his larger-than-life endeavor to
produce “pure art without history.” Repetition prevented a work from becoming unique and compositional.
Systemically produced art was part of the “new sensibility” that arose by the end of the 1950s, taking over thefollowing decade through the principles of repetition and seriality, which constituted the most elementary
systems to resist conventional art practice.
The piece TK37-7/8-16 (2016) consists of anodized titanium brackets that entail the viewers’ scrutiny of color
through her or his movement in space. This installation is part of a larger series of anodized aluminum andtitanium works Kuwayama made in pink, blue, red, yellow, green, silver, and gold. TK37-7/8-16 manifests
Kuwayama’s entrance into a circuit of production that involved the loss of manual control of his work,
contradicting an art principle that states that the quality of the work depends on the manual skill of the maker.
Pairing with Donald Judd’s Specific Objects, Kuwayama’s anodized brackets avoid any metaphysical intention
and become objects that compel the viewers to look at the object and color within space—and monochrome, inparticular— in an increasingly alienating world of banal objects and digital screens.

TK161-22
2022
Signed & dated on verso
Acrylic on canvas with aluminum
61 x 15 in
154.9 x 38.1 cm
PROVENANCE
ArtistThe two pieces TK7623 5/8-67 (1967) and TK161-22 (2022), made more than 50 years apart, manifest
Kuwayama’s outstanding knowledge of color, which is materialized in the extremely saturated palette of some of
his monochromatic paintings (yellow, blue, red, black, green, white.) Trained at the art university that claimed tohave reinvented Japanese-style painting, Kuwayama’s expertise on nihonga painting’s techniques—the use oforganic and mineral pigments fixed through a glue made of animal gelatin—allowed him to conduct in-depth
research into color over the years. As a result, the artist adapted the use of water-based industrial pigment by
mixing different colors and applying layers to the canvas to produce a dense hue that projects the object into thespace.
At the beginning of the 1960s, Kuwayama learned to use acrylic paint from American artist Sam Francis, one thefew Western figures along with French Michel Tapié who were close to Japanese artists at the time. When asked
by curator Russell Storer about the system of aluminum dividing strips used in his monochrome paintings,
Kuwayama stated: “First I did two panels, multiple panels joined together. If the panels are made in the samecolor, then this is a joint line, right—not a drawn line, which means you cannot deny it. If you paint a line, this isalready to me a composition.”
If Minimalism is considered quintessentially three-dimensional, Kuwayama’s chromatic signature adopts thisprinciple by interrogating the status of painting as object, its definition, and its aesthetic properties beyond thepsychological realm that lures subjectivity. His works, located in the interstice between painting and sculpture,
become set forms installed at a gallery.

Biography

Born in 1932 in Nagoya, Japan, Tadaaki Kuwayama graduated from the Japanese Painting course at Tokyo
University of the Arts where he found himself uninterested in both the rigid traditional nihonga apprenticesystem as well as the contemporary Japanese art scene in Japan of the time. He moved to New York in 1958,
along with his young wife, the painter Rakuko Naito, where they have been living and working ever since.
After his 1961 solo exhibition at Green Gallery, the prominent vanguard gallery run by eccentric art dealer
Richard Bellamy, Kuwayama began making monochromatic acrylic paintings in geometric forms,
becoming a pioneer of what became known as the American Minimalist movement of the 1960s and 1970s.
The artist turned his back on the abstract, and gesture based painting style of the era, beginning to pursue
another style of “pure abstract” painting alongside other young artists of his generation. Donald Judd, thenan art critic, was an early advocate of Kuwayama and followed his career noting his contribution to theemerging form of what would later be termed Minimalism.
Kuwayama’s oeuvre can be understood as spanning several periods, marked in part by his use of different
materials. Until 1962, when he had his second solo exhibition in the United States, he produced paintings
using Japanese mineral pigments and acrylic solvent on boards wrapped in Japanese paper. After that, theartist used acrylic paint until around 1969; then he turned to metallic paints through the 1970s; and oil inthe 1980s. But since the 1990s, Kuwayama has made space itself his work. His globally acclaimed works
display no subjective expression—they are intended as pure art and provide an immersive experience in theviewing space.
Kuwayama’s artistic journey has extended over half a century. His relentlessly experimental spirit andferocity of art-making continues to today.

Exhibitions
SOLO EXHIBITIONS
2019
2018
2017
2016

2015
2014
2013

2012

2011

2010
2008

2006

2005
2003
2002
2001
2000

Nonaka-Hill, Los Angeles, CA, USA
Taka Ishii Gallery, Tokyo, Japan
Tadaaki Kuwayama: Radical Neutrality, The Mayor Gallery, London, UK
Recent works, Willem Baars Projects, Amsterdam, Netherlands
Tadaaki Kuwayama: From the 60s Till Today, Galerie Grand Ciecle, Taipei
Tadaaki Kuwayama: titanium 4 colors, Gallery Yamaguchi Kunst-bau, Osaka, Japan
Not Primary Color, Hill Gallery, Birmingham, MI, USA
Gallery, Shilla, Daegu, Korea
Tadaaki Kuwayama: Early Work, 1962-1975, Barbara Mathes Gallery, New York, NY, USA
Tadaaki Kuwayama: Pure Painting, Hill Gallery, Birmingham, MI, USA
Tadaaki Kuwayama, Gallery Shilla, Daegu, Korea
Titanium 2 Lines, Gallery Yamaguchi Kunst-bau, Osaka, Japan
60-70s, Gallery Yamaguchi Kunst-bau, Osaka, Japan
Tadaaki Kuwayama Titanium-Art as Space, Space as Art, Nagoya University of Art, Art & Designed
Center, Aichi, Japan
Titanium, Gallery Yamaguchi Kunst-bau, Osaka, JapanTADAAKI KUWAYAMA:HAYAMA, The Museum Modern Art, Hayama, Kanagawa, Japan [Cat.]Six Elements or More, Tayloe Piggott Gallery, Jackson Hole, WY, USA
Gary Snyder Gallery, New York, NY, USA
White Tadaaki Kuwayama Osaka Project, The National Museum of Art, Osaka, Japan [Cat.]
Untitled, Tadaaki Kuwayama, 21st Century Museum of Contemporary Art, Kanazawa, Ishikawa,Japan [Cat.]
Gallery Yamaguchi Kunst-bau, Osaka, JapanOut of Silence: Kuwayama Tadaaki, Nagoya City Art Museum, Aichi, Japan [Cat.]Gold & Silver Recent works, Gallery Yamaguchi Kunst-bau, Tokyo, Japan
Bjorn Ressle Gallery, New York, NY, USA
PAINTINGS FROM THE 1970s, Gary Snyder Project Space, New York, NY, USA
Large Paintings from 60s & 70s, Gallery Yamaguchi, Osaka, JapanOne Room Project 2006, Nagoya City Art Museum, Aichi, Japan; Aichi Prefectural Museum of Art,
Aichi, JapanOne room Project 2006 in Osaka, Gallery Yamaguchi kunst-bau, Osaka, Japan
Galerie König, Hanau/Frankfurt, Germany’90 [part 1-2], Gallery Yamaguchi kunst-bau, Osaka, Japan
Selected Works 1992-2003, Tamada Project, Tokyo, Japan
Space as art-art as space, Gallery Yamaguchi kunst-bau, Osaka, Japan
Galerie Renate Bender, Munich, Germany
Tadaaki Kuwayama: Repetition & Continuity II, Riva Gallery, New York, NY, USA
Folin/Riva Gallery, New York, NY, USA
Project’ 01, Gallery Yamaguchi, Osaka, Japan; Contemporary Art Space Osaka, Osaka, Japan
Contemporary Art Space Osaka, Osaka, JapanTADAAKI KUWAYAMA: Positionenreihe 17, Rupertinum Museum, Salzburg, Austria

1998
1997

1996

1995
1994

1993
1992

1991

1990

1989

1988

1985

1984
1983

The Zürich Intervention, Stiftung fur Konstruktive und Konkrete Kunst, Zürich, Switzerland
A Retrospective for Works, Galerie Renate Bender, Munich, Germany
PROJECT FOR INGOLSTADT, Museum für Konkrete Kunst, Ingolstadt, Germany; Städtische
Galerie im Teather Ingolstadt, Ingolstadt, Germany
recent works, Gallery Yamaguchi, Osaka, Japan
Recent Drawings, Satani Gallery, Tokyo, JapanPROJECT ’96, Chiba City Museum of Art, Chiba, Japan,
Kawamura Memorial Museum of Art, Chiba, Japan
Project for Stiftung für Konkrete Kunst Reutlingen, Stiftung für Konkrete Kunst Reutlingen,
Reutlingen, Germany
Past through Present Eye, Gallery Yamaguchi, Osaka, Japan
Pencil and Wax on Paper, Gallery Yamaguchi, Osaka, Japan
Drawing on Mylar, Gallery Yamaguchi, Osaka, Japan
recent works, Gallery Yamaguchi, Osaka, Japan60s-90s, Shugado Gallery, Osaka, Japan
5 metallic colors, Satani Gallery, Tokyo, JapanThe Snow Country Suite, Ibaraki Municipal Kawabata Literature Memorial Hall, Osaka, Japan
Metallic green, Sakura Gallery, Aichi, JapanNEW PRINTS, Gallery Yamaguchi, Osaka, Japan
Recent Works, Gallery Yamaguchi Warehouse, Osaka, Japan
Gilbert Brownstone et Cie, Paris, France
RECENT WORKS 1989-90, Satani Gallery, Tokyo, JapanThe Snow Country Suite, Gallery Yamaguchi, Osaka, Japan; Gallery Yonetsu, Tokyo, Japan; Gallery
Sumi, Okayama, Japan
Drawings, Gallery Sumi, Okayama, Japan
Nagoya City Art Museum, Aichi, Japan
Sakura Gallery, Aichi, Japan
Gallery Yamaguchi, Osaka, Japan
Bilder 1988-1989, Galerie Reckermann, Cologne, Germany
Michael Walls Gallery, New York, NY, USA
O.K.Harris Works of Art, New York, NY, USA
Part V: Chrome Age 1968-69, Gallery Yamaguchi, Osaka, Japan
Part IV: Cross Chrome Age 1966, Gallery Yamaguchi, Osaka, Japan
Part III: Pigment Age – Canvas 1962-65, Gallery Yamaguchi, Osaka, Japan
Part II: Pigment Age – Paper 1960-61, Gallery Yamaguchi, Osaka, Japan
Part I: New Paintings – White Series 1986-78, Gallery Yamaguchi, Osaka, Japan
New Paintings, Akira Ikeda Gallery, Tokyo, Japan
Sakura Gallery, Nagoya, JapanA Retrospective 1960-1985, Kitakyushu Municipal Museum of Art, Fukuoka, Japan
Two recent works, Gallery Yamaguchi, Osaka, Japan
Gallery Kasahara, Osaka, Japan
Laboratory, Sapporo, Hokkaido, Japan
Early Paintings, Akira Ikeda Gallery, Tokyo, Japan
New Paintings, Akira Ikeda Gallery, Aichi, Japan
Sakura Gallery, Aichi, Japan

1982

1981
1980

1979
1978
1977
1976
1975
1974
1973

1972
1969
1968

1967

1966
1965
1964
1962
1961

NEW PAINTING, Akira Ikeda Gallery, Tokyo, JapanÖlbilder 1980 bis 1982, Gimpel-Hanover + André Emmerich Galerie, Zürich, SwitzerlandÖlbilder 1980 bis 1982 [Oil paintings 1980-1982], Galerie Reckermann, Cologne, Galerie Linie, Moers,
Germany
Galerie Linie, Moers, Germany
KUWAYAMA WALLS, Akira Ikeda Gallery, Aichi, Japan
Drawings, Akira Ikeda Gallery, Aichi, Japan
Paintings 1980, Galerie Reckermann + Galerie Valeur (Akira Ikeda Gallery), Basel 11th International
Art Fair 1980, Basel, Switzerland
Protech-McIntosh Gallery, Washington D.C., USA
Sakura Gallery, Aichi, Japan
Koh Gallery, Tokyo, Japan
Galerie Denise René, New York, NY, USA
Drawings Show, Contemporary Art Laboratory-T, Tokyo, Japan
7 Paintings 1976, Galerie Reckermann, International Kunstmarkt, Düsseldorf, Germany
Galerie Denise Rene, New York, NY, USA
Bilder und Zeichnungen [Paintings and drawings], Galerie Müller, Stuttgart, Germany
Einraum Ausstellungen ’74 [One room exhibitions ‘74], Museum Folkwang, Essen, West Germany
Kaneko Art Gallery, Tokyo, Japan
Kaneko Art Gallery, Tokyo, Japan
Galerie Kowallek, Frankfurt am Main, Germany
Bilder [Paintings] 1966-1973, Galerie Reckermann, Cologne, Germany
New Paintings, Henri 2, Washington D.C., USA
Galerie Reckermann, Cologne, Germany
Henri Gallery, Washington D.C.
Galerie d’Aujourd’hui, Palais des Beaux-Arts, Brussels, Belgium
Galerie Bischofberger, Zürich, Switzerland
Galleria del Leone, Venice, Italy
New Paintings, Richard Gray Gallery, Chicago, IL, USA
Franklin Siden Gallery, Detroit, MI, USA
Galerie Mutzenbach, Dortmund, Germany
Galerie Bischofberger, Zürich, Switzerland
Tokyo Gallery, Tokyo, JapanThe Systemic Paintings of Kuwayama, The Red Carpet Gallery, Minneapolis, MN, USA
Daniels Gallery, New York, NY, USA
Kornblee Gallery, New York, NY, USA
Swetzoff Gallery, Boston, MA, USA
Green Gallery, New York, NY, USA
PAINTINGS, Green Gallery, New York, NY, USA

GROUP EXHIBITIONS
2021

2020
2019

2018

2017

2016
2015

2013
2011

White, Sokyo Annex, Kyoto, Japan
Forms in Space: from Alberto Giacometti to Tadaaki Kuwayama, Hayama, The Museum ofModern Art, Kamakura & Hayama, Kanagawa, Japan“Colours of the imagination” Collection Exhibitions curated by Ryan Gander, Tokyo Opera City Art
Gallery, Tokyo, Japan
Three Colours, Red-White-Blue, The Mayor Gallery, London, UK
Gallery Collection, Ginza New Gallery, Whitestone Gallery, Tokyo, Japan
Tadaaki Kuwayama and Rakuko Naito, Adrian Rosenfeld Gallery, San Francisco, CA, USA
Survived !, Taka Ishii Gallery, Tokyo, Japan [Cat.]
Beautiful Nothing, Whitestone Gallery Taipei, Taipei, Taiwan
Group Exhibition, Taka Ishii Gallery, Tokyo, JapanFirst Choice 2018, Willem Baars Projects, Amsterdam, The Netherlands
MINIMALISM: SPACE. LIGHT. OBJECT., Singtel Special Exhibition Gallery, National Gallery
Singapore, Singapore
Inventing The New: Tadaaki Kuwayama & Rakuko Naito, Hill Gallery, Birmingham, MI, USA
Taka Ishii Gallery New York, New York, NY, USA
Giant Steps: Artists and the 1960s, Albright-Knox Art Gallery, Buffalo, NY, USA
The Essential Perspective. Minimalisms in the Helga de Alvear Collection, Centro de Artes Visuales
Fundación Helga de Alvear, Cáceres, Spain
MOMAT Collection, National Museum of Modern Art, Tokyo, JapanFIRST CHOICE 2018. A selection of post-war highlights, Willem Baars Projects, Amsterdam,
Netherlands
NAITO & KUWAYAMA, Borzo Gallery, Amsterdam, Netherlands
Being Alive, Hill Gallery, Birmingham, MI, USA
Gallery Selections: Assorted Artists, Barbara Mathes Gallery, New York, NY, USA- light of darkness abysm -, Gallery Yamaguchi Kunst-bau, Osaka, JapanFirst choice 2018: A selection of post-war highlights, Willem Baars Projects, Amsterdam, Netherlands
Tadaaki Kuwayama and Rakuko Naito, Barbara Mathes Gallery, New York, NY, USA
Interaction of color, Gallery Yamaguchi Kunst-bau, Osaka, Japan
Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965, Grey Art Gallery, NewYork University, New York, NY, USA
NEW SPACE with THE ARTISTS and ART, Gallery Yamaguchi Kunst-bau, Osaka, Japan
Printer's Proof: Thirty Years at Wingate Studio, Wingate Studio, Boston, MA, USA
Op Infinitum: 'The Responsive Eye' Fifty Years After (Part II) - American Op Art In The 60s, David
Richard Gallery, Santa Fe, NM, USA
Charactaristic sense of the Rectangle, Gallery Yamaguchi Kunst-bau, Osaka, Japan
LINE [Tadaaki Kuwayama / Akiko Horio / Simon Fitzgelard], Gallery Yamaguchi Kunst-bau,
Osaka, Japan
Surface, Support, Process: The 1960s Monochrome in the Guggenheim Collection, Solomon R.
Guggenheim Museum, New York, NY, USA
Painting in Parts, Maryland Art Place, Baltimore, MD, USA

2010
2009
2008

2007
2005
2004

2002

2000

1999
1998
1997
1996

1995
1994

1993

grid: Minimal Art and Kimono, grid I, Tottori, Japan
Aichi, Contemporary Art, Nagakute Bunka-no-Ie, Aichi, JapanThe Third Mind: American Artists Contemplate Asia, 1860-1989, Solomon R. Guggenheim
Museum, New York, NY, USA
Eureka! : art as traces and/or lines, Osaka City Museum of Modern Art, Shinsaibashi Temporary
Exhibition Space, Osaka, Japan
Choosing, Galerie Sfeir-Semler, Humburg, Germany
New American Abstraction 1950-70, Gary Snyder Project Space, New York, NY, USA
Margin of Painting: Minimal Art, Cohju Contemporary Art, Kyoto, Japan
Placements, Galerie König, Hanau/Frankfurt am Main, Germany
Lodz Biennale, Lodz, Poland
Monocromos: de Malevich al presente [Monochromes: from Malevich to the present], Museo
Nacional Centro de Arte Reina Sofia, Madrid, Spain
The Unfinished Century: Legacies of 20th Century Art, The National Museum of Modern Art,
Tokyo, Tokyo, Japan
Samadhi, Chelsea Art Museum, New York, NY, USA.
Austere Geometry, Gary Snyder Fine Art, New York, NY, USA.
Towards Utopia, Contemporary Art Space, Osaka, Japan
Summer Group Show, Folin/Riva Gallery, New York, NY, USA
Photograph / Painting / Plane: Collection of Osaka City Museum of Modern Art, ATC Museum,
Osaka, Japan
5th Kitakyushu Biennale Aesthetics of Repetition and Continuity, Kitakyushu Municipal Museumof Art, Fukuoka, Japan
Collection of Chiba City Museum of Art, Chiba City Museum of Art, Chiba, Japan
Ad Reinhardt, Tadaaki Kuwayama, Donald Judd, an Flavin, Gallery Yamaguchi, Osaka, Japan
Tadaaki Kuwayama / Andreas Karl Schulze, Japaniches Kulturinstitut Köln, Cologne, Germany
Creativity of Abstract Paintings, Fukushima Prefectural Museum of Art, Fukushima, JapanThe Structure of Painting: One Color, One Form, Bumpodo Gallery, Tokyo, JapanYo Akiyama, Tadaaki Kuwayama, Frank Stella, Julian Schnabel, Gallery Emon, Aichi, Japan
Structure and Void: Matti Kujassalo and Tadaaki Kuwayama, Galerie Renate Bender, Munich,Germany
Japanese Art After 1945: Scream Against the Sky, Yokohama Museum of Art, Kanagawa, Japan;
Traveled to: Solomon R. Guggenheim Museum, Soho, New York, NY, USA; San Francisco
Museum of Art, San Francisco, CA, USA (-’95)
Rudolf Mumprecht, Hernández Pijuan, Tadaaki Kuwayama: DREI POSITIONEN, Galerie
Mielich-Bender, Munich, GermanyWorks on Paper: TADAAKI KUWAYAMA, TOEKO TATSUNO, MASAAKI YAMADA, Satani
Gallery, Tokyo, Japan
Metallic Work, Gallery Yamaguchi, Osaka, Japan
prints show: Donald Judd, Tadaaki Kuwayama, Brice Barden, Joel Shapiro, Gallery Yamaguchi,
Osaka, Japan
Judd & Kuwayama: 60’s works and prints, Gallery Yamaguchi, Osaka, Japan
Michael Walls Gallery, New York, NY, USA

1992

1991

1990

1989

1988

1987

1986

1985
1984

Michael Walls Gallery, New York, NY, USA
Espace 446, Osaka, JapanTADAAKI KUWAYAMA, RAKUKO NAITO, Sakura Gallery, Aichi, Japan
After Reinhardt: The Ecstasy of Denial, Tomoko Oguri Gallery, New York, NY, USA
THE PAINTINGS: POST 50’S Vol.II, Gallery Yonetsu, Tokyo, Japan
Contemporary Art of America and Japan: Collection of The Museum of Modern Art, Shiga, The
Museum of Modern Art, Saitama, Saitama, Japan
Abstract Art in Japan, Art Museum Ginza, Tokyo, Japan
Minimal and …, Gallery Yamaguchi, Warehouse, Osaka, Japan
Minimal Art, The National Museum of Art, Osaka, Osaka, JapanTADAAKI KUWAYAMA, MASAAKI YAMADA: two man show, Gallery Yamaguchi,
Warehouse, Osaka, Japan
An exhibition to commemorate the publication of Gazing at Hokusai’s Constellation, Sakura Gallery,
Aichi, Japan
Carl Andre, Tadaaki Kurayama, Donald Judd, Gallery Yamaguchi, Warehouse, Osaka, JapanTHE PAINTINGS: POST 50’S, Gallery Yonetsu, Tokyo, Japan
Tadaaki Kuwayama, Masaaki Yamada, Gallery Yamaguchi, Warehouse, Osaka, Japan
Gegenwart Ewigkeit [Present Eternity], Berlinische Galerie [Martin-Gropius-Bau], Berlin,
Germany
TECHNO-METAPHYSICS: Five Japanese Artists, Grace Borgenicht Gallery, New York, NY, USA
Blank in Modern Painting: from Cézanne to Conceptual Art: an Approach to Modern Art, Shizuoka
Prefectural Museum of Art, Shizuoka, JapanArt Kite, The Miyagi Museum of Art, Miyagi, Japan; Mie Prefectural Museum of Art, Mie, Japan;
The Museum of Modern Art, Shiga, Shiga, Japan; The Himeji Castle Sannomaru Park, Hyogo,
Japan; Shizuoka Prefectural Museum of Art, Shizuoka, Japan; Nagoya City Art Museum, Aichi,
Japan; Hiroshima City Museum of Contemporary Art, Hiroshima, Japan; thereafter traveled to:
Munich, Germany; Paris, France; Düsseldorf, Germany; Moscow, Russia; Vienna, Austria; Lonon,
UK; and New York, NY, USA
Paintings in Japanese Contemporary Art, Kumamoto Prefectural Museum of Art, Kumamoto,Japan
The Tenth Anniversary Exhibition: Panting 1977-1987, The National Museum of Art, Osaka,
Osaka, JapanThe 18th Contemporary Art Exhibition of Japan 1987, Tokyo Metropolitan Art Museum, Tokyo,
Japan; Traveled to: Kyoto Municipal Museum, Kyoto, Japan; Kitakyushu Municipal Museum ofArt, Fukuoka, Japan; The Miyagi Museum of Art, Miyagi, Japan
Black and White in Art Today, The Museum of Modern Art, Saitama, Saitama, Japan
Gallery Biitker, Detroit, MI, USA
The Message: Japanese Contemporary Paintings, Sogo Museum of Art, Kanagawa, Japan
Contemporary Japanese Paintings, National Gallery of Modern Art, New Delhi, India
Constructivism and the Geometric Tradition, Indianapolis Museum of Art, Indianapolis, IN, USA;
Traveled to: Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York, NY, USA;
The National Museum of Modern Art, Tokyo, Tokyo, Japan; Hokkaido Museum of Modern Art,
Hokkaido, Japan

1983

1982

1981

1980

1979
1978
1977

1976
1975

Japanese Contemporary Paintings, 1960-1980, Museum of Modern Art, Gunma, Gunma, Japan
Constructivism and the Geometric Tradition, San Antonio Museum of Art, San Antonio, TX,
USA; The New Orleans Museum of Art, New Orleans, LA, USA; The Toledo Museum of Art,
Toledo, OH, USA
Small Works, Bonnier Gallery, New York, NY, USA
Geometric Art at Vassar, Vassar College Art Gallery, Poughkeepsie, NY, USA
Constructivism and the Geometric Tradition, Denver Art Museum, Denver, CO, USA
Kunst wird Material [Art becomes Material], Nationalgalerie Berlin, Berlin, Germany
The 1960’s: A decade of Change in Contemporary Japanese Art, The National Museum of Modern
Art, Kyoto, Kyoto, Japan
Group Show, Akira Ikeda Gallery, Tokyo, JapanThe 1960’s: A decade of Change in Contemporary Japanese Art, The National Museum of Modern
Art, Tokyo, Japan
Konsekvens en Konstnärs Hyllning till Olle Baertling, Liljevalchs Konsthall, Stockholm, Sweden
Contemporary Japanese Art: Trends of Japanese Art in 70’s, Fine Art Center Gallery of Korean
Culture and Art Foundation, Seoul, Korea
Constructivism and the Geometric Tradition, William Rockhill Nelson Gallery of Art and MaryAtkins Museum of Fine Art, Kansas City, MO, USA; Detroit Institute of Art, Detroit, MI, USA;
Milwaukee Art Center, Milwaukee, WI, USAvariations on planar paintings: Tadaaki Kuwayama, Kishio Suga, Masaaki Yamada, Fukuoka Art
Museum, Fukuoka, Japan
Japanese Art Now: Tadaaki Kuwayama & Rikuro Okamoto, Japan House Gallery, New York, NY,USA
F. STELLA + TADAAKI KUWAYAMA, Koh Gallery, Tokyo, Japan
Constructivism and the Geometric Tradition, Dallas Museum of Fine Art, Dallas, TX, USA; San
Francisco Museum of Modern Art, San Francisco, CA, USA; La Jolla Museum of Contemporary
Art, La Jolla, CA, USA; Seattle Art Museum, Seattle, WA, USA; Museum of Art, Carnegie
Institute, Pittsburgh, PA, USA
Constructivism and the Geometric Tradition, Albright-Knox Art Gallery, Buffalo, NY, USA
Constructivism and the Geometric Tradition, Tel Aviv Museum, Tel Aviv, Israel
Henri Gallery, Washington, D.C., USA
The Sacred Image in Traditional and Contemporary Art, East & West, The Cathedral Church of
St. John the Divine, New York, NY, USA
Less is More: an Exhibition of American Minimal Painting, Koh Gallery, Tokyo, Japan
Line, Weight, Color, Galerie Denise René, New York, NY, USA
Contemporary Art ’77-1, Contemporary Art Laboratory T, Tokyo, Japan
Aspecte konstrukiver Kunst [Constructivism and the Geometric Tradition], Kunsthaus Zürich,
Zurich, Switzerland
Contemporary Art Laboratory T, Tokyo, Japan
Contemporary Art Laboratory T, Tokyo, Japan
International Exhibition of Small Sizes, Galerie Lydia Megert, Bern, Switzerland
View of Japanese Contemporary Art, The Seibu Museum of Art, Tokyo, Japan

1974

1973

1972

1971

1970

1969
1968

1967

Japan I bild: konst från fyra århundraden [Japan in the picture: art from four centuries], Henie
Onstad kunstsenter, Høvikodden, Norway
Japan I bild: konst från fyra århundraden [Japan in the picture: art from four centuries], Götborgs
konstmusum, med konsthallen, Gothenburg, Sweden
The Modern Paintings of Tadaaki Kuwayama Plus the Primitive Sculpture of the New Hebrides,
Inter River Trading Company, New York, NY, USA
Japan på Louisiana: Moderne Japansk Kunst [Japan on Louisiana: Modern Japanese Art],
Louisiana Museum of Art, Humblebaek, Denmark
Painting – Kuwayama Sculpture – Kipp, Galerie Denise René, New York, NY, USA
JAPAN: Tradition und Gegenwart [Japan: radiation and Present], Städtische Kunsthalle
Düsseldorf, Düsseldorf, Germany
The 1960s: Color Painting in the United States from the Michener Collection, The University ofTexas at Austin, Austin, TX, USA
Kaneko Art Gallery, Tokyo, Japan
Japanese Artists in the Americas, The National Museum of Modern Art, Tokyo, Tokyo, Japan
Art and Things: Paintings in the Sixties, The University of Texas at Austin, Austin, TX, USA
Japanese Artists in the Americas, The National Museum of Modern Art, Kyoto, Kyoto, Japan
Kaneko Art Gallery, Tokyo, Japan
The Art of Surface: A Survey of Contemporary Japanese Art, Art Gallery of New South Wales,
Sydney, Australia
The Michener Collection: American Paintings of the Twentieth Century, The Michener Galleries,
The University of Texas at Austin, Austin, TX, USA
50 Jahre Museum Folkwang in Essen III: Kunst seit 1960 [50 years Museum Folkwang in Essen III:Art since 1960], Folkwang Museum, Essen, Germany
The University of Texas at Austin, Austin, TX, USA
Kaneko Art Gallery, Tokyo, JapanThe ‘60s Revisited, Aldrich Contemporary Art Museum, Ridgefield, CT, USA
The Sixties from the Michener Collection, The University of Texas at Austin, Springfield Art
Museum, Springfield, MO, USA
Contemporary American Drawings, French & Company, New York, NY, USA
Saikodo Gallery, Tokyo, JapanThe Exhibition of Tokyo Gallery 1971, Tokyo Gallery, Tokyo, Japan
20th Century American Masters, William Zierler Gallery, New York, NY, USA
American Paintings of the Sixties from the Michener Collection, The University of Texas at Austin,
Witte Memorial Museum, San Antonio, TX, USA; Herron Art Museum, Indianapolis, IN, USA;
University of Illinois, IL, USA
Noah Goldowsky Gallery, New York, NY, USA
Selections from the Michener Foundation Collection, Freedman Art Gallery, Albright College,
Reading, PA, USA
Plus by Minus: Today’s Half-Century, Albright-Knox Art Gallery, Buffalo, NY, USA
The 1st Trienniale-India, Lalit Kala Akademi, New Delhi, India
Cool Art 1967, Aldrich Museum of Contemporary Art, Ridgefield, CT, USA
Normal Art, The Lannis Museum of Normal Art, New York, NY, USA

1966

1965

1964

1963
1962
1961

The 1967 Pittsburgh International Exhibition of Contemporary Painting and Sculpture, Museum ofArt, Carnegie Institute, Pittsburgh, PA, USA
Domestic Exhibition of 1st Indian Triennial of Contemporary World Art, Tokyo Central Museum,
Tokyo, Japan
Henri Gallery, Washington, D.C., USA
Noah Goldowsky Gallery, New York, NY, USA
Neue Formen der Farbe [New Forms of Color], Württembergischer Kunstverein, Stuttgart,
Germany; Kunsthalle Bern, Bern, Switzerland
Black & White, Wordsworth Atheneum, Hartford, CT, USA
Four Directions: Burns, Breder, Brass, Kuwayama, A.M.Sax Gallery, New York, NY, USA
Vormen van de Kleur [Forms of Color], Stedelijk Museum, Amsterdam, Netherlands
Systemic Painting, The Solomon R. Guggenheim Museum, New York, NY, USA
White on White, Addison Gallery of American Art, Phillips Academy, Andover, MA, USA
Cross Section of Contemporary Art, Arnot Art Museum, Elmira, NY, USA; State University of New
York, College at Oswego, Oswego, NY, USA; Wake Forest University, Winston-Salem, NC, USA;
Bemidji State College Bemidji, MN, USA; Art Gallery of Greater Victoria, Victoria, Canada;
University of California Riverside, CA, USA; Madison Art Center, Madison, WI, USA; Ithaca
College Ithaca, NY, USA; Skidmore College, Saratoga Springs, NY, USA
FIVE PAINTERS, Tokyo Gallery, Tokyo, Japan
Exhibition of Japanese Artists Abroad: Europe and America, The National Museum of Modern Art,
Tokyo, JapanWhite on White, De Cordova and Dana Museum and Park, Lincoln, MA, USA
Cross Section of Contemporary Art, Allentown Art Museum, Allentown, PA, USA; Davenport
Municipal Art Gallery, Davenport, IA, USA; Tougaloo College, Tougaloo, MS, USA; Fort Wayne
Art Museum, Fort Wayne, IN, USA; Oak Ridge Community Art Center, Oak Ridge, TN, USA;
Huntington Galleries, Huntington, WV, USA; Museum of Art, University of Oklahoma,
Norman, OK, USA; Paterson State College, Wayne, NJ, USA; Bacardi Imports Inc., Miami, Fl,USA
New Eyes, Chrysler Museum, Provincetown, MA, USA
Contemporary Japanese Painting, Laura Knott Gallery, Bradford Junior College, Bradford, MA,
USA
Daniels Gallery, New York, NY, USA
Cross Section of Contemporary Art, Brooks Memorial Art Gallery, Memphis, TN, USA
Motion and Movement, Contemporary Art Center, Cincinnati, OH, USA
June Exhibition, Green Gallery, New York, NY, USA
Classic and Poetic Box Forms in Art, Southampton Art Gallery East, NY, USA
Box Show, Dwan Gallery, Los Angeles, CA, USA
Formalists, Washington Gallery of Modern Art, Washington, D.C., USA
Green Gallery, New York, NY, USA
Geometric Paintings classic & Romantic, Jerrold Morris International Gallery, Toronto, Canada
Cornell University, Ithaca, NY, USA; Colorado College Museum, Colorado Springs, CO, USA
The 1961 Pittsburgh International: Exhibition of Contemporary Painting and Sculpture,
Department of Fine Arts, Carnegie Institute, Pittsburgh, PA, USA

1960

A Group of Paintings, Sculptures and Drawings, Green Gallery, New York, NY, USA
New Currents / Six Younger American Painters, Holland Goldowsky Gallery, Chicago, IL, USA

PUBLIC COLLECTIONS
Solomon R. Guggenheim Museum, New York, USA. Museum of Modern Art, New York, USA.
Albright-Knox Art Gallery, Buffalo, USA. Nationalgalerie, Berlin, Germany. Foundation forConstructivist, Concrete and Conceptual Art, Zürich, Switzerland. National Museum of Modern Art,
Tokyo, Japan. National Museum of Art, Osaka, Japan. Louisiana Museum of Modern Art, Humblebaek,
Denmark.
AWARDS
1986
1969
1964

Adolph and Esther Gottlieb Foundation Grant
National Endowment for the Arts Grant
Art in America New Talent USA — Recommended by Kenzō Okada

Courtesy of Tadaaki Kuwayama and Alison Bradley Projects
Copyright of Alison Bradley Projects
526 W. 26th Street, Suite 814
New York, NY 10001