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‘We Can Make Another Future’

ESSAY: Kazama’s Nonhuman crossing

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ESSAY: Chim↑Pom

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ESSAY: Koizumi’s Double projection

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APT7 Opening Weekend visitors view Takahiro Iwasaki's Reflection Model (Perfect Bliss) 2010–12

ESSAY: Iwasaki’s Reflection Model (Perfect Bliss)

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ESSAY: Yoneda’s ‘Scenes’

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A detail view of a work of art with a small gold flower symbol on a black background.

ESSAY: Yanagi’s Hinomaru (Rising sun)

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ESSAY: Tadasu Takamine’s Baby Insa-dong

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ESSAY: Nguyen-Hatsushiba’s ‘Memorial Projects’

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ESSAY: Ozawa’s ‘Vegetable weapons’

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ESSAYS: Morimura’s alter-egos

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ESSAY: Kashiki’s fluid compositions

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ESSAY: Kasahara’s

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ESSAY: Michiko Kon’s unsettling photographs

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ESSAY: Kusama’s pumpkins and flowers

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ESSAY: Nobuyoshi Araki’s photographs

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ESSAY: Ay-o’s spring pictures

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ESSAY: Teraoka and contemporary ukiyo-e

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Yayoi Kusama / The obliteration room installed for APT4 (before activation)

ESSAY

Kusama’s Obliteration room

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ESSAY: Teppei Kaneuji’s White discharge works

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An installation view of a sculpture taking the form of a deer made of glass balls and beads.

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Kohei Nawa: PixCell-Double Deer#4

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ESSAY: Hiraki Sawa’s O

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ESSAY: Teruya’s Notice – Forest

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An installation view of a bright gallery space, with a sculptural artwork taking the form of a van carrying a cobbled-on second level on top.

ESSAY: YNG’s Mobile Studio

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Takashi Murakami

ESSAY: Murakami’s Mr DOB

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ESSAY

Yoshizawa’s vibrant abstraction

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ESSAY: Moriyama’s distinctive photographs

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ESSAY: Takahiko Iimura’s video experiments

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ESSAY: Mieko Shiomi: The world as a process

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Ay-O’s ‘finger boxes’

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ESSAY: Sugimoto’s Hall of Thirty-Three Bays

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