Hiroshi Sugimoto is a Japanese photographer, born on February 23, 1948, in Tokyo, Japan. His interest in photography he showed at an early age. In high school he took his first photographs. It was of a film footage, in theater as it was played, in which stared Audrey Hepburn. In 1970 he enrolled studies of politics and sociology at Rikkyō University in Tokyo. At the Art Center College of Design, Pasadena, California, he retrained as an artist, in 1974, and received his BFA in Fine Arts. Later he settled in New York City, and soon after started working as a dealer of Japanese antiquities in Soho.
Sugimoto has spoken of his work that it serves as a time capsule, and that it also focuses on transience of life, and the conflict between life and death. His work is affected by Dadaist and Surrealist movements, as well as the works and writings of Marcel Duchamp, who has deeply influenced him. He also showed a great deal of interest in modern architecture of the late 20th century. Sugimoto has a reputation as a photographer of the highest technical ability, because of his use of an 8×10 large-format camera and extremely long exposures. His work, he began in 1976, with series titled Dioramas. These show displays in natural history museums. Initial Dioramas were taken at the American Museum of Natural History, a place he returned for later dioramas in 1982, 1994, and 2012. Next followed Theater series, in 1978. He created these in old American movie palaces and drive-ins with a folding 4×5 camera and tripod. For the entire duration of the movie he was keeping the shutter open, exposing the film, while the projector was providing the sole lighting. In 1980, he began working on a Seascapes series, a series of photographs of sea and the horizon. He took these on locations all over the world, using an old-fashioned large-format camera, and made exposures of varying duration. These black-and-white photos, are the same in size, with the horizon line splitting them in the middle. Sanjūsangen-dō (Hall of Thirty-Three Bays), in Kyoto, was his project created in 1995, for which he had, in a special preparation for the shoot, all late-medieval and early-modern embellishments removed, as well as having all the modern fluorescent lighting turned off. It was shot from a high vantage point, with all architectural features edited out. The resulting 48 photographs, concentrate on the bodhisattvas, 1,000 life-size and almost identical gilded figures carved from wood in the 12th and 13th centuries, banked up inside the building. On a commission from the Museum of Contemporary Art in Chicago, in 1997, Sugimoto started creating his series of photographs of notable building all around the world. His later Architecture series (2000–2003) consists of blurred images of well-known examples of Modernist architecture. Next series, In Praise of Shadows, created in 1998, is based on Gerhard Richter’s paintings of burning candles. His series Portraits, was a commission by the Deutsche Guggenheim in 1999. In these he tried to use lighting that would have been used by a 16th century painter. He took a three-quarter view photos, using 8×10 inch negatives, and photographed wax figures of Henry VIII and his wives, which are taken against a black background. In 2001 he went to Japan to create photographs of a pine landscape. He visited so-called meisho “famous sites” for pines: Miho no Matsubara, Matsushima, Amanohashidate. On the royal palace grounds in Tokyo, Sugimoto photographed a pine landscape, copying a traditional 16th-century Japanese ink-painting style. In 2003, he went to St. Louis to photograph the Pulitzer Foundation for the Arts. Eventually, he ended up photographing Richard Serra’s sculpture Joe, which was in the courtyard. He took these photographs by setting the lens distance from the film to the half of the focal length, which he calls, “twice-infinity”. And with this he created a blurring effect. He mounted these hand-developed, gelatin-silver photographs, on aluminum panels, and left them unframed, unglazed and unlaminated to draw attention to what Sugimoto describes as the “transformation from the three-dimensional steel source sculpture to the thin layers of what I would call my ‘silver sculpture’.” In 2004, he created a large number of photographs of antique mathematical and mechanical models. These models were created in the 19th century, for learning and better understanding of mathematical functions, and mechanical properties of various devices. On this series Sugimoto began working, as a response to The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) by Marcel Duchamp. In 2007 he created his Stylized Sculpture series. For these he selected distinctive garments by celebrated couturiers from the collection of the Kyoto Costume Institute, and shot them in chiaroscuro on headless mannequins. In 2009 he abandoned the use of camera, and decided to take pictures with a 400,000 volt Van de Graaff generator to apply an electrical charge directly onto the film. A 7×2.5 foot sheet of film is laid on the large metal tabletop, and the image is created by causing sparks to erupt on the surface. All Five Elements series, from 2011, consist of optical quality glass with black and white film. In 2012, he presented Couleurs de l’Ombre, 20 different colorful scarf designs in editions of just seven, created for French fashion label Hermès.
Sugimoto established, in 2009, the Odawara Art Foundation to promote Japanese culture. His foundation was granted a $6 million, by the Japan Society, for construction of a multidisciplinary arts complex in Odawara. The project includes an original 15th-century entrance gate, a minimalist exhibition space, a modern Japanese teahouse, and a contemporary Noh theater with a stage that appears to float above the sea.
Sugimoto is also an accomplished architect. After receiving requests to design structures from restaurants to art museums he began his architecture practice. Because he does not have an architectural license himself, he hired three young qualified architects to help him execute his vision. His recent projects include a Shinto shrine, a commission at Naoshima Contemporary Art Center in Japan, in 2013, a sculpture and rock garden for the Sasha Kanetanaka restaurant in Omotesandō, Tokyo, the Stove, a top-tier French restaurant housed in a refurbished wooden house in the Kiyoharu Art Village, Yamanashi Prefecture. And in 2014, a Sugimoto-designed glass teahouse was set over a tiled pool and had the traditional tea ceremony performed for the public in it, at the Le Stanze del Vetro museum, during the Venice Architecture Biennale.
Sugimoto’s work is held in numerous public collections including the Metropolitan Museum of Art, New York, Moderna Museet, Stockholm, Centre Georges Pompidou, Paris, Museum of Contemporary Art, Tokyo, Museum of Modern Art, New York, National Gallery, London, National Museum of Modern Art, Tokyo, Smithsonian Institution, Washington, D.C., MACBA, Barcelona, and Tate Gallery, London.
For his work he received a numerous awards. In 2001, Hasselblad Foundation International Award (Hasselblad Honour), 2009 from Japanese Art Association: Praemium Imperiale prize for the ‘Painting’ category, 2010 Medal with Purple Ribbon, and 2014, Isamu Noguchi Award for Kindred Spirits in Innovation, Global Consciousness and Japanese/American Exchange.
Hiroshi Sugimoto is currently dividing his time between Tokyo, Japan and New York City, United States.
Year | Exhibition Title | Gallery/Museum | Solo/Group |
---|---|---|---|
2014 | Hiroshi Sugimoto: On the Beach | Gallery Koyanagi, Tokyo | Solo |
2014 | Hiroshi Sugimoto | Cahiers d'Art Gallery, Paris. | Solo |
2014 | Moderan Times | Fondazione Bevilacqua La Masa, Palazzetto Tito, Venezia | Solo |
2014 | The Glass Tea House Mondrian | Isola di San Giorgio Maggiore, Venezia | Solo |
2014 | Still Life | Pace, New York | Solo |
2014 | Acts of God | Fraenkel Gallery, San Francisco | Solo |
2014 | Aujourd'his le monde est mort - Lost Human Genetic Archive | Palais de Tokyo, Paris | Solo |
2014 | Past Tense | The J. Paul Getty Museum at the Getty Center, Los Angeles | Solo |
2013 | Time Exposed | Xue Xue White, Taipei. | Solo |
2013 | Hiroshi Sugimoto | Leeum Samsung Museum of Art, Seoul. | Solo |
2013 | Accelerated Buddha | Fondation Pierre Bergé Yve Saint Laurent, Paris. | Solo |
2013 | Hèrmes Editeur - Couleurs de l'Ombre | Tyler Print Institue, Singapore | Solo |
2012 | Revolution | Museum Brandhorst, Munich | Solo |
2012 | Rothko|Sugimoto: Dark Paintings and Seascapes | Pace London | Solo |
2012 | Hèrmes Editeur - Couleurs de l'Ombre | Museum der Kulture, Basel | Solo |
2012 | Hiroshi Sugimoto | Pace Beijing | Solo |
2012 | From naked to clothed | Hara Museum of Contemporary Art, Tokyo | Solo |
2011 | Lake Superior | Pace-MacGill Gallery, New York | Solo |
2011 | New Work | The Chinati foundation, Marfa. | Solo |
2011 | ORIGINS OF ART |Architecture, History, Religion | Marugame Genichiro-Inokuma Museum of Contemporary Art, Kagawa. | Solo |
2010 | ORIGINS OF ART | Science | Marugame Genichiro-Inokuma Museum of Contemporary Art, Kagawa. | Solo |
2010 | The Day After | The Pace Gallery, New York. | Solo |
2009 | Nature of Light | Izu Photo Museum, Mishima. | Solo |
2009 | Permanent Installation of "Coffin of Light" | Benesse Park, Naoshima | Solo |
2009 | Imakojima-Art, Architecture Collection, Yurinsou | Ohara Museum, Okayama. | Solo |
2009 | History of History | The National Museum of Art, Osaka. | Solo |
2008 | 7Days - 7 Nights | Gagosian Gallery, New York | Solo |
2008 | Hiroshi Sugimoto | Museum der Moderne Salzburg, Neue Nationalgalerie, Berlin | Solo |
2008 | Hiroshi Sugimoto | Kunstmuseum Luzern,Switzerland | Solo |
2008 | History of History | 21st Century Museum of Contemporary Art, Kanazawa | Solo |
2007 | Hiroshi Sugimoto | K20, Dusseldorf, Fine Arts Museums of San Francisco- de Young, | Solo |
2007 | History of History | Asain Art Museum of San Francisco, San Francisco, Royal Ontario Museum, Toronto | Solo |
2007 | Colors of Shadow | Sonnabend Gallery, New York | Solo |
2006 | Mathematical Forms | Galerie de l’Atelier Brancusi, Centre Pompidou, Paris | Solo |
2006 | Colors of Shadows | Marian Goodman Gallery, Paris, Sonnabend Gallery, New York | Solo |
2006 | Joe | Pulitzer Foundation for the Arts, St. Louis, Gagosian Gallery, Beverly Hills. | Solo |
2006 | History of History | Smithsonian, Arthur M. Sackler Gallery, Washington D.C. | Solo |
2006 | Hiroshi Sugimoto | Smithsonian, Hirshhorn Museum and Sculpture Garden, | Solo |
2006 | Hiroshi Sugimoto | The Modern Art Museum of Fort Worth, Texas. | Solo |
2005 | History of History | Japan Society Gallery, New York | Solo |
2005 | Hiroshi Sugimoto: End of Time | Mori Art Museum, Tokyo | Solo |
2005 | Conceptual Forms | Gagosian Gallery, London | Solo |
2004 | E´tant donne´: Le grande verre | Fondation Cartier pour l’art contemporain, Paris | Solo |
2004 | The Origins of Love | Yoshii Gallery, New York | Solo |
2003 | Hiroshi Sugimoto | Serpentine Gallery, London | Solo |
2003 | Hiroshi Sugimoto: L’hisoire de l’histoire | Maison Herme`s FORUM, Tokyo | Solo |
2003 | SUGIMOTO: ARCHITECUTRE | Museum of Contemporary Art, Chicago | Solo |
2002 | The Architecture of Time | Stills Gallery, Fruit Market Gallery, Edinburgh | Solo |
2001 | Hiroshi Sugimoto | Kunsthaus Bregenz, Austria | Solo |
2001 | Portraits | White Cube2, London, Guggenheim Museum SoHo, New York | Solo |
2001 | Noh Such Thing as Time | DIA Art Center, New York | Solo |
2000 | Portraits | Guggenheim Museum, Bilbao, Deutche Guggenheim, Berlin | Solo |
1999 | Hiroshi Sugimoto | Gallerie Ulrich fiedler, Cologne | Solo |
1999 | Hiroshi Sugimoto | Galerie Meyer-Ellinger, Frankfurt | Solo |
1999 | Hiroshi Sugimoto | Galerie Claude Berrie, Paris | Solo |
1998 | Hiroshi Sugimoto | La Caixa, Madrid | Solo |
1998 | Hiroshi Sugimoto | Akron Art Museum, Ohio | Solo |
1998 | Hiroshi Sugimoto | Kunsthalle Bielefeld, Germany | Solo |
1998 | Hiroshi Sugimoto | Kerlin Gallery, Dublin | Solo |
1998 | Hiroshi Sugimoto | Centro Cultural de Belem, Lisbon | Solo |
1998 | Hiroshi Sugimoto: In Praise of Shadows | Center for Contemporary Art, Kitakyushu Project Gallery, Japan | Solo |
1997 | Hiroshi Sugimoto | Fay Gold Gallery, Atlanta | Solo |
1997 | Hall of Thirty-Three Bays | The Sainsbury Centre, University of East Anglia, England | Solo |
1997 | Motion Pictures | Berkeley Art Museum, California | Solo |
1996 | Hiroshi Sugimoto | Angles Gallery, Santa Monica | Solo |
1996 | Hiroshi Sugimoto | Modern Museet Sparvagnshallarna, Stockholm | Solo |
1996 | Hiroshi Sugimoto | Hara Museum ARC, Gunma, Japan | Solo |
1996 | Hiroshi Sugimoto | Galleri Faurschou, Copenhagen | Solo |
1996 | Hiroshi Sugimoto | Junta de Andalucia, Granada | Solo |
1996 | Hiroshi Sugimoto | Gallery Joan Parts, Barcelona | Solo |
1996 | Hiroshi Sugimoto | TheoreticalEvent, Naples, Italy | Solo |
1996 | Hiroshi Sugimoto | Contemporary Arts Museum Houston, Texas | Solo |
1996 | Shashin: Transforming the Real | Tufts University Gallery, Massachusetts | Solo |
1996 | Hiroshi Sugimoto | Studio Guenzani, Milan | Solo |
1996 | Hiroshi Sugimoto | Canadian Embassy Gallery, Tokyo | Solo |
1995 | Hiroshi Sugimoto | The Metropolitan Museum of Art, New York | Solo |
1995 | Hiroshi Sugimoto | Kunsthalle Basel, Switzerland | Solo |
1995 | Hiroshi Sugimoto | Centre International d’Art Contemporain de Montre´al | Solo |
1995 | Hiroshi Sugimoto | Art Gallery of York University, Toronto | Solo |
1995 | Hiroshi Sugimoto | Le Musee´ Villeneuve d’Ascq, France | Solo |
1995 | Hiroshi Sugimoto | Galleria SPSAS, Locarno, Switzerland | Solo |
1995 | Hiroshi Sugimoto | RENN Espace d’Art Contemporain, Paris | Solo |
1994 | Hiroshi Sugimoto | Museum of Contemporary Art, Los Angeles | Solo |
1994 | Hiroshi Sugimoto | The Parrish Art Museum, Southampton | Solo |
1994 | Hiroshi Sugimoto | Museum of Contemporary Art, Chicago | Solo |
1993 | Hiroshi Sugimoto | Virginia Museum of Fine Arts, Richmond | Solo |
1993 | Hiroshi Sugimoto | Palais des Beaux-Arts, Charleroi, Belgium | Solo |
1992 | CAPC Muse´e d’Art Contemporain, Bordeaux | Solo | |
1991 | Hiroshi Sugimoto | Sagacho Exhibit Space and IBM courtyard, Tokyo | Solo |
1991 | Hiroshi Sugimoto | Gallery Kasahara, Osaka | Solo |
1991 | Hiroshi Sugimoto | Hosomi Gallery, Tokyo | Solo |
1991 | Hiroshi Sugimoto | Zeit-Photo Salon, Tokyo | Solo |
1990 | Hiroshi Sugimoto | Saint Louis Art Museum, Missouri | Solo |
1990 | Hiroshi Sugimoto | Presentation House Gallery, Vancouver, Canada | Solo |
1990 | Hiroshi Sugimoto | Galerie Jahn und Fusban, Munich, Germany | Solo |
1990 | Hiroshi Sugimoto | Galerie Urbi et Orbi, Paris | Solo |
1989 | Hiroshi Sugimoto | The National Museum of Art, Osaka | Solo |
1989 | Hiroshi Sugimoto | Cleveland Museum of Art, Ohio | Solo |
1988 | Hiroshi Sugimoto | Sagacho Exhibit Space, Tokyo | Solo |
1987 | Hiroshi Sugimoto | Minami Gallery, Tokyo | Solo |
2014 | Mingei: Are You Here? | Pace London | Group |
2013 | Mingei: Are You Here? | Pace New York | Group |
2012 | Phantoms of Asia: Contemporary Awakens the Past | Asian Art Museum, San Francisco | Group |
2011 | Mathematics: A Beautiful Elsewher | Fondation Cartier, Paris | Group |
2011 | Reflections of the Buddha | The Pulitzer Foundation for the Arts, St. Louis. | Group |
2011 | Our Magic Hour: How Much of the World Can We Know? | Yokohama Triennale 2011 | Group |
2011 | TRA -Edge of Becoming | Palazzo Fortuny, Venice | Group |
2010 | Sompo | Japan Museum of Art, Tokyo, National Museum of Art, Osaka | Group |
2010 | Faraday Cage | 17th Biennale of Sydney | Group |
2010 | Sexuality and Transcendence | PinchukArtCentre, Kiev, Ukrania | Group |
2009 | Element of Photography | Museum of Contemporary Art, Chicago | Group |
2009 | Mapping the Studio | Punta della Dogana, Venice | Group |
2009 | The Third Mind, Solomon R. | Guggenheim Museum, New York | Group |
2008 | Reality Check: Truth and Illusion in Contemporary Photography | Metropolitan Museum, New York | Group |
2008 | Untitled(Vicarious): Photographing the Constructed Object | Gagosian Gallery, New York | Group |
2008 | Photography on Photography:Refrections on the Medium since 1960 | Metropolitan Museum, New York | Group |
2008 | Seascapes: Tryon and Sugimoto, Arthur M. | Sackler Gallery, Washington D. C. | Group |
2007 | KANNON | Museum Rietberg, Zurich | Group |
2007 | Modern Photographs from Collection XIV | Metropolitan Museum, New York | Group |
2006 | Dark Matter | White Cube, London | Group |
2006 | Infinite Painting: Contemporary Painting and Global Realism | Villa Manin, Udine, Italy | Group |
2005 | Sophie Calle + Hiroshi Sugimoto | Gallery Koyanagi, Tokyo | Group |
2004 | Singular Forms (Sometimes Repeated), Solomon R. | Guggenheim Museum, New York | Group |
2003 | Supernova: Art of the 1990s from the Logan Collection | San Francisco Museum of Modern Art | Group |
2003 | Happiness - A Survival Guide for Art and Life | Mori Art Museum, Tokyo | Group |
2003 | Warum!, Martin - Gropius | Bau Museum, Berlin | Group |
2003 | The History of Japanese Photography | The Museum of Fine Arts, Houston, The Cleveland Museum of Art, Ohio | Group |
2003 | Liquid Sea | Museum of Contemporary of Art, Sydney | Group |
2002 | Selected Life, Death, Love, Hate, Pleasure, Pain: works from the MCA Collection | Museum of Contemporary Art, Chicago | Group |
2002 | Moving Pictures, Solomon R. | Guggenheim Museum, New York | Group |
2002 | American Standard: (Para)Normality and Everyday Life | Barbara Gladstone Gallery, New York | Group |
2001 | Give & Take | Victoria & Albert Museum, London | Group |
2001 | I Am a Camera | Saatchi Gallery, London | Group |
2000 | Gendai: Japanese Contemporary Art - Between the Body and Space | Center for Contemporary Art, Ujazdowski Castle, Warsaw | Group |
2000 | Expanding Horizons: Landscape Photographs from the Whitney Museum of American Art | Whitney Museum of American Art at Philip Morris, New York | Group |
2000 | Small World: Dioramas in Contemporary Art | Museum of Contemporary Art San Diego | Group |
1999 | Mirror’s Edge | BildMuseet, Umea° University, Umea°, Sweden | Group |
1999 | Regarding Beauty: A View of the Late Twentieth Century | Hirshhorn Museum and Sculpture Gardens, Washington D.C. | Group |
1999 | The Third Asia-Pacific Triennial of Contemporary Art | Queensland Art Gallery, Brisbane | Group |
1999 | Moving Image: Film-Reflexion in der Kunst | Galerie fu¨r Zeitgeno¨ssische Kunst, Leipzig | Group |
1999 | Modena per la fotografia 1999: Uno sguardo sul Giappone | Galleria Civica Modena, Italy | Group |
1999 | Tomorrow For Ever: Photographie als Ruine | Kunstahlle Krems, Basel | Group |
1999 | The Museum as Muse: Artists Reflect | Museum of Modern Art, New York | Group |
1998 | Tastes and Pursuits: Japanese Art in the 1990’s | Japan Foundation, National Gallery of Modern Art, New Delhi, Metropolitan Museum of Manila, Philippines | Group |
1998 | Secret Victorians: Contemporary Artists and a 19th-Century Vision | The Minories Art Gallery, Colchester, England | Group |
1998 | Speed-Visions of an Accelerated Age | Whitechapel Art Gallery | Group |
1998 | Terra Incoginita | Neues Museum Weserburg, Bremen | Group |
1998 | At the End of the Century: One Hundred Years of Architecture | Museum of Contemporary Art, Tokyo | Group |
1998 | Sea Change: The Seascape in Contemporary Photography | Center for Creative Photography, University of Arizona, Tucson | Group |
1998 | Hiroshi Sugimoto - Agnes Martin | Fraenkel Gallery, San Francisco | Group |
1998 | Mysterious Voyages: Exploring The Subject of Photography | The Contemporary Museum, Baltimore, Maryland | Group |
1997 | Blueprint | De Appel foundation, Amsterdam | Group |
1997 | Framed Area | Haarlemmermeer District, Netherlands. | Group |
1997 | In Visible Light: Photography and Classification in Art, Science and the Everyday | Museum of Modern Art, Oxford, England | Group |
1997 | Evidence: Photography and Site | Wexner Center for the Arts, The Ohio State University | Group |
1996 | Open Secrets: Seventy Pictures on Papers, 1815 to the Present | Mathew Marks Gallery, New York | Group |
1996 | Colleci´on Ordo´nez Falco´n de Fotografi´a | Ivam Centre Julio Gonza´lez, Valencia, Spain | Group |
1996 | Hall of Mirrors: Art and film Since 1945 | Museum of contemporary Art, Chicago | Group |
1996 | Prospect 96: Photographie in der Gegenwartskunst | Frankfurter Kunstverein und Schirn Kunsthalle, Frankfurt | Group |
1996 | By Night | Fondation Cartier pour l’art contemporain, Paris | Group |
1995 | Nature Studies II | University Gallery, Fine Arts Center, University of Massachusetts, Amherst | Group |
1995 | Being There | Paolo Baldacci Gallery, New York | Group |
1995 | Le Monde apre`s la Photographie | Muse´e d’art moderne, Villeneuve d’Ascq, France | Group |
1995 | Witness: Photoworks from the Collection | Tate Gallery Liverpool, England | Group |
1995 | Art in Japan Today: 1985 - 1995 | Museum of Contemporary Art, Tokyo | Group |
1995 | Private - Public (ARS 95 Helsinki) | Museum of Contemporary Art, Helsinki | Group |
1995 | Chasing Shadows: Photographs from the Collection | Fogg Art Museum, Cambridge, Massachusetts | Group |
1994 | Photography and Beyond in Japan: Space, Time and Memory | Hara Museum of Art, Tokyo | Group |
1994 | Fondation Cartier: A Collection | National Museum of Contemporary Art of Seoul | Group |
1994 | Inside Out: Contemporary Japanese Photography | The Light Factory Photographic Arts Center, Charlotte, North Carolina | Group |
1994 | Some Went Mad, Some Ran Away… | Serpentine Gallery, London | Group |
1994 | Japanese Art After 1945: Scream Against the Sky | Yokohama Museum of Art, Japan | Group |
1993 | Jardins do Paradiso: Gardens of Eden | Galeria do Museu Antropolo´gico da Universidade de Coimbra, Portugal | Group |
1993 | Azur | Fondation Cartier pour l’art contemporain, Jouy-en-Josas, France | Group |
1993 | In die Felsen bohren sich Zikadenstimmen: Zeitgeno¨ssische japanische Photographie | Kunsthaus Zurich, Switzerland | Group |
1993 | Das 21, Jahrhundert: Mit Paracelsus in die Zukunft (The 21st Century: Into the Future with Paracelsus) | Kunsthalle Basel, Switzerland | Group |
1992 | Re´flexions Voile´es (Hidden Reflections) | Israel Museum, Jerusalem | Group |
1992 | Un seconde pense´e du paysage | Centre d’Art Contemporain, Locmine, France | Group |
1991 | Carnegie International 1991 | The Carnegie Museum of Art, Pittsburgh | Group |
1991 | A Cabinet of Signs: Contemporary Art from Post-Modern Japan | Tate Gallery Liverpool, England | Group |
1991 | Beyond Japan: A Photo Theater | Barbican Art Gallery, London | Group |
1990 | Japanische Kunst der Achtziger Jahre | Frankfurter Kunstverein, Frankfurt | Group |
1990 | The Past and Present of Photography | The National Museum of Modern Art, Tokyo, The National Museum of Modern Art, Kyoto | Group |
1990 | Natural History Re-created | The Center fro Photography at Woodstock, New York | Group |
1990 | Sonnabend Collection Exhibition | Sezon Museum of Art, Tokyo, Sendai Miyagi Museum of Art, Sendai, Fukuyama Museum of Art, Fukuyama | Group |
1990 | Reorienting: Looking East | Third Eye Centre, Glasgow, Nicola Jacobs Gallery, London | Group |
1989 | Continum and the Moment: Rita Myers, Hiroshi Sugimoto, Bill Viola | Visual Arts Center, California State University, Fullerton | Group |
1989 | On Kawara: Again and Against: 23 Date Paintings and 24 Prominent Works of Japanese Contemporary Art, 1969-1989 | Institute of Contemporary Arts, Nagoya, Japan | Group |
1989 | Investigations 1989 | Institute of Contemporary Art, University of Pennsylvania, Philadelphia | Group |
1987 | Contemporary Japanese Art in America (I): Arita, Nakagawa, Sugimoto | Japan Society Gallery, New York | Group |
1985 | The Art of Memory - The Loss of History | New Museum of Contemporary Art, New York | Group |
1983 | Landmarks Reviewed: Contemporary Photographs of American Buildings, Structures, and Natural Forms | Pensacola Museum of Art, Florida | Group |
1982 | Photography Collection from The Museum of Modern Art | Museum of Modern Art, New York, Seibu Museum of Art, Tokyo | Group |
1981 | Baltimore Collects: Photographs from Local Private Collections | Baltimore Museum of Art | Group |
1978 | Recent Acquisitions | Museum of Modern Art, New York | Group |