21 best art exhibitions in Tokyo right now

The Museum of Contemporary Art Tokyo celebrates its 30th birthday by gathering together over 30 artists and collectives from diverse generations and geographies to reflect on how contemporary art can illuminate the hidden structures of daily life while opening new possibilities for collective imagination.

Foregrounding domestic, institutional and urban contexts from households shaped by gender norms to the contested spaces of Okinawa and Mumbai, ‘Choreographies of Everyday’ investigates how subjectivity is formed, constrained and transformed. Newly commissioned works developed through research in Tokyo will join pieces by artists including Satoru Aoyama, Jonathas de Andrade, Mako Idemitsu, Shilpa Gupta and the Rice Brewing Sisters Club. Together, these works confront systemic violence and oppression while highlighting acts of resistance, creativity and humour that endure in the everyday.

The exhibition’s title signals both mechanisms of social control and the agency to subvert or transcend them. In that spirit, the show unfolds as a dynamic platform, enriched by performances, talks and workshops throughout its duration.

Founded by Chanel in Paris in 2021, le19M is a ground-breaking hub that brings together 11 maisons d’art and over 700 artisans, dedicated to preserving and advancing the intricate crafts behind haute couture: embroidery, pleating, millinery, shoemaking, feather work and more. As both a creative incubator and a guardian of heritage, le19M is home to la Galerie du 19M, a cultural space that celebrates craftsmanship, fosters innovation and nurtures future generations of artisans.

From September 30 to October 20, Chanel invites Tokyo audiences to discover the extraordinary world of the métiers d’art with la Galerie du 19M Tokyo, an exhibition on an unprecedented scale, held on the 52nd floor of the Mori Tower in Roppongi Hills.

La Galerie du 19M Tokyo offers a free, immersive experience for visitors of all ages and backgrounds. Through a curated journey blending tradition and contemporary creation, visitors are invited witness the meticulous artistry and dedication behind some of Chanel’s most iconic pieces. It’s a dialogue between cultures and crafts, honouring the value of human hands and the timeless beauty of artisanal excellence, brought to life high above the Tokyo skyline.

Note that while the exhibition is free to view, advance reservation is required to enter the venue. You can book your spot here.

Pop art impresario Andy Warhol (1928–1987) blurred the boundaries between high culture and mass consumption, transforming everyday objects and the faces of celebrities into icons of contemporary art. His fascination with fame, beauty and repetition made him both a mirror of his age and a relentless critic of it, leaving behind a body of work that continues to resonate in today’s image-saturated culture.

Espace Louis Vuitton Tokyo’s ‘Serial Portraits’ showcase is part of the Fondation Louis Vuitton’s Hors-les-murs program, which brings highlights from its Paris collection to audiences worldwide. This free exhibition focuses on Warhol’s radical reinvention of portraiture, from his playful photo booth experiments in the early 1960s to the spectral self-portraits he made shortly before his death.

Highlights like the Self-Portraits series (1977–1986) are displayed alongside both celebrated and lesser-known works to offer insight into Warhol’s evolving exploration of identity, celebrity and the endless possibilities of repetition. By juxtaposing iconic images with hidden gems, the exhibition reveals how Warhol turned portraiture into a stage for both personal reflection and cultural critique.

In the news for his role as the designer of the Expo 2025 site, Sou Fujimoto is an architect whose work explores the relationship between nature and architecture. Born in Hokkaido, he is inspired by the natural landscapes of his childhood and seeks to integrate organic forms into the built environment through an approach he calls ‘primitive future’.

This philosophy translates into an exploration of the limits between indoors and outdoors and the natural and the artificial, creating spaces that invite a new experience of inhabiting it. Fujimoto’s residential projects in Japan, such as House N, House O and House T, as well as international projects such as the Serpentine Gallery Pavilion in London, illustrate this desire to blur spatial boundaries. His work is characterised by the use of simple materials, often only one per project, implemented in innovative ways to create complex and intriguing shapes. The balance between a defined program and the freedom of appropriation by the occupants is at the heart of his approach.

Fujimoto’s first major Tokyo retrospective takes over the Mori Art Museum from July 2 to November 9. The exhibition offers a comprehensive overview of the architect’s journey over the past quarter century, showcasing his achievements. Models, plans and documentary photographs sit alongside life-size models and installations, providing an immersive visual and spatial experience of the essence of his work. The exhibition highlights projects such as the Musashino Art University Museum & Library, the Arbre Blanc in Montpellier, France, the House of Music in Budapest, and – yes – the Expo site on Osaka’s Yumeshima.

Marking 100 years since the dawn of the Showa era and 80 years since the end of World War II, the National Museum of Modern Art, Tokyo looks back with ‘Opening Documents, Weaving Memories’, an exhibition that reflects on Japan’s turbulent mid-20th century. With 280 works on view, the display explores how art has served both as a record of history and as a medium for reconstructing memory across generations.

Spanning the 1930s to the 1970s, the exhibition unfolds across eight sections that probe the role of painting, photography and film during wartime and its aftermath. Visitors encounter powerful ‘War Record Paintings’, commissioned by the Imperial Japanese army and navy to document battles, alongside intimate portrayals of life on the home front. Works such as Ai-Mitsu’s Self-Portrait (1944) and Ken’Ichi Nakamura’s Kota Bharu (1942) highlight the complex intersections of personal expression and state narrative. Later sections trace the shifting visual language of memory, from depictions of wounded bodies in the 1950s to dialogues prompted by Vietnam War imagery in the 1970s.

By juxtaposing propaganda, personal visions and post-war reinterpretations, the exhibition invites audiences to consider how museums can act as repositories of collective memory. In doing so, it opens documents of the past while weaving them into living dialogues with the present and future.

Explore how post-war black markets shaped the evolution of Tokyo’s urban fabric at this intriguing exhibition, held at Takashimaya Archives Tokyo on the fourth floor of the Nihombashi Takashimaya department store.

On show until February 23 2026, the display marks 80 years since the end of World War II and focuses on the makeshift marketplaces that emerged amid the ruins of Tokyo. During the war, large-scale demolitions, intended to prevent the spread of fires caused by air raids, created vacant lots across the city. In the chaotic years that followed, these empty spaces, together with bombsites and even roadside corners, were transformed into black markets. Known as yami-ichi, they supplied goods and sustenance in a time of scarcity while seeding new social and commercial hubs.

Particular attention is given to Shinjuku, where some of the black markets grew into vibrant entertainment districts that remain central to Tokyo’s identity today. And while most of the markets eventually vanished, their traces endure in the city’s streetscapes and neighbourhoods.

Curated by Tokukazu Ishigure of Kwansei Gakuin University, the exhibition reframes black markets as more than unlawful encroachments, highlighting their role as catalysts of urban renewal – spaces where disorder gave rise to energy, resilience and reinvention.

Women’s emancipation was in full swing at the beginning of the twentieth century and had a considerable influence on fashion. The interwar period saw the emergence of the liberated woman, in search of a modern and daring style reflecting her new spirit. At the same time, the Art Deco movement was born, blooming during the 1920s first in relation to interior architecture and furniture. It was in this context that the first icon of Art Deco fashion was born: the garçonne, an emblematic figure of the Roaring Twenties.

Art Deco fashion came to be characterised by geometric and clean shapes, bold colours and high-quality materials. Beaded dresses, furs, feathers and sequins make up the Art Deco wardrobe, where graphic patterns and bold prints bring a touch of sophistication and theatricality to outfits.

Looking back at this era of luxurious and opulent wear – and celebrating the centenary of the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris – the Mitsubishi Ichigokan Museum is organising the ‘Art Deco and Fashion’ exhibition from October 11 2025 to January 25 2026. The museum will display about sixty iconic Art Deco outfits – including evening dresses from the great Parisian houses such as Poiret, Chanel and Lanvin – as well as paintings, prints, handicrafts, and other artwork from Japanese and foreign museums.

Noritake Suzuki is an acclaimed picture book author known for his wit, vibrant illustrations, and deep empathy for childhood wonder. Born in Hamamatsu in 1975, Suzuki got his big break with Ketchup Man in 2008 and has since captivated readers with hits like the Shigotoba, The Working Place of Japan Professionals series and the bestselling Big Pinch Picture Book, which earned him the top prize at the MOE Picture Book Awards in both 2022 and 2024.

From October 8 to December 7, the Play Museum in Tachikawa serves as host for the artist’s imaginative world by way of an exhibition based on Suzuki’s hit Big Pinch book series, which depicts the small yet dramatic ‘crises’ children face in everyday life. 

Labelled ‘pinch entertainment’, it’s an immersive experience where you get to step into, play with and even create your own cartoon disasters. From oversized spilt milk to interactive ‘pinch’ games, the exhibition transforms anxiety into laughter.

Exclusive to this Play Museum exhibition are original sketches, early illustrations and hands-on installations that visitors of all ages can enjoy. For fans of imaginative storytelling and joyful problem-solving, this is a must-visit celebration of life’s little mishaps.

Kanagawa-born, NYC-based Aki Sasamoto’s decompartmentalised artistic practice explores performance, sculpture, dance, and any other medium conducive to the expression of her ideas. At the intersection of visual and performing arts, her work involves collaborating with musicians, choreographers, scientists and academics, and she often takes on multiple roles: performer and sculptor, but also professor and director of graduate studies in the Department of Sculpture at Yale University.

In her work, Sasamoto constantly reflects on the design and configuration of sculptures and devices that she uses as scores during improvised performances within immersive installations. As she describes it, her creative process is akin to fishing: she ‘casts a net and waits for a perfect alignment of events’, letting several elements float before grasping the connections by relating them to seemingly foreign references.

On from August 23 to November 24, ‘Aki Sasamoto’s Life Laboratory’ at the Museum of Contemporary Art Tokyo explores the interplay between sculptural creation and performance that has characterised the artist’s work for two decades. From landmark early works to more recent creations that emphasise kinetic elements, the exhibition offers a comprehensive overview of Sasamoto’s journey and unique approach, where the boundaries between artistic disciplines blur in favour of captivating hybrid expression.

Portuguese filmmaker Pedro Costa has long been recognised as one of contemporary cinema’s most uncompromising and visionary voices. Emerging in the 1980s, Costa quickly established a distinctive style defined by stark contrasts of light and shadow, rigorously composed frames, and an unflinching gaze at the margins of society.

His films, such as In Vanda’s Room (2000), which captured the daily struggles of Cape Verdean immigrants in Lisbon’s Fontainhas district, marry documentary intensity with painterly precision. Acclaimed internationally, Costa’s work has extended beyond the cinema screen to major exhibitions, including ‘Company’ (Serralves Museum of Contemporary Art, 2018) and ‘The Song of Pedro Costa’ (Spain, 2022-23).

Celebrating its 30th anniversary, the Tokyo Photographic Art Museum presents Costa’s ‘Innervisions’ until December 7. Inspired by Stevie Wonder’s 1973 album of the same name, which profoundly influenced Costa’s youth, the exhibition reflects on the interplay between individual lives and wider social realities. The show introduces characters that play vital roles in the artist’s oeuvre, alongside the environments they inhabit, situating Costa’s cinema within its broader sociohistorical context.

Complementing the exhibition, the museum will host Carte Blanche, a film series curated by Costa, together with screenings of his own seminal works. Offering rare insight into the filmmaker’s creative universe, ‘Innervisions’ invites audiences to rediscover the power of cinema as both art and social critique.

Daido Moriyama has spent over six decades redefining the possibilities of photography. Born in 1938, he emerged in the 1960s with raw, high-contrast images that challenged conventional aesthetics and captured the restless energy of post-war Japan. His international recognition, as seen in exhibitions from the San Francisco Museum of Modern Art to London’s Tate Modern, established the Osaka native as a global icon. Honoured with the Hasselblad Award in 2019, Moriyama continues to shape the visual language of photography with unmatched vitality.

Until October 27, GR Space Tokyo presents ‘Daido Moriyama: In Tokyo’, an exhibition marking the Harajuku venue’s first anniversary. Divided into two phases and featuring around 60 new works shot with the Ricoh GR series, the display captures the shifting landscapes and fleeting human presences of the city in 2025.

Free to enter, the exhibition invites visitors to experience the immediacy and intensity of a metropolis in constant flux, distilled through the lens of one of Japan’s greatest living photographers.

Hokkaido-born Atsushi Suwa is one of Japan’s foremost contemporary realist painters. Noted for his extraordinary technical mastery, Suwa combines rigorous research with a penetrating gaze, producing works that explore physical likeness and themes such as memory, mythology and the traces of history. His portraits, still lifes and narrative paintings have earned him wide acclaim both in Japan and abroad.

From September 11 to March 1 2026, the What Museum on Tennozu Isle presents the artist’s first large-scale solo exhibition in three years. Encompassing around 80 works, the exhibition spans early creations, intimate family portraits and newly painted still lifes, with nearly 30 of the pieces shown publicly for the first time. At the heart of the display is At the Shore (2025), a monumental painting depicting a human-like figure assembled from objects in Suwa’s studio, reflecting the artist’s pandemic-era withdrawal from portraiture and his gradual reawakening to the human form.

Curated by Takenori Miyamoto, the exhibition unfolds across five themed rooms and is accompanied by a documentary film and a short story by Akutagawa Prize winner Kaori Fujino.

Bringing together 16 artists across generations and disciplines, this dynamic group exhibition explores the creative energy of ‘MADs’ – better known as AMVs or anime music videos – a phenomenon rooted in online communities where derivative works are made by deconstructing and reassembling existing media such as anime, games and sound.

Co-curated by artists Namonaki Sanemasa and Kazuki Umezawa, ‘Mad Image’ spans painting, sculpture, video and sound installation, reflecting a diverse spectrum of practices united by the processes of fragmentation and reconstruction. Created by artists ranging from teenagers to established practitioners in their fifties, the works capture the fractured landscapes of contemporary life while questioning how meaning is made in an era where digital images and information flow endlessly across screens.

For Sanemasa and Umezawa, who both exhibit in the show in addition to serving as curators, ‘Mad Image’ is less about offering a definitive framework than about creating a temporary space – a ‘small hut’, as Sanemasa puts it – where art can pause, reassemble, and invite reflection. In this gathering of experimental voices, Mizuma Art Gallery becomes a site for imagining new ways to connect amid the disjointed commons of our time.

Creator of the iconic Great Wave off Kanagawa – and more than 30,000 other works across a remarkable 90-year life – Katsushika Hokusai was known for his restless spirit (he moved 93 times) and ever-evolving identity (he used more than 30 artist names). And by the way, the ukiyo-e impresario’s prolific genius also laid the foundation for what we now recognise as manga and anime.

This autumn, ‘Hokusai’ at Creative Museum Tokyo offers an immersive journey into the artist’s seemingly boundless world. With over 300 pieces on display, including the complete Hokusai Manga (from the world-famous Uragami Collection), all three volumes of One Hundred Views of Mount Fuji, and a set of 16 newly discovered hand-painted works from his final years, the show promises unprecedented depth.

And as we’ve come to expect from this venue, the artworks on display will be accompanied by some certifiably contemporary exhibits. These include animated adaptations of Hokusai prints by top Japanese animators, highlighting how the visual storytelling of Edo’s greatest artist continues to resonate. Be sure to exit through the gift shop for a look at some 150 pieces of exclusive merch, including collaborations with Peanuts, Chums and Swiss Army knife maker Victorinox.

Few artists have touched the soul of modern art as profoundly as Vincent van Gogh (1853–1890). In a mere decade, the Dutchman produced an astonishing body of work, including vivid landscapes, tormented portraits and expressive still lifes, that continues to resonate deeply with audiences worldwide.

Yet Van Gogh’s posthumous fame owes much to those closest to him: his brother Theo, Theo’s wife Johanna, and their son Vincent Willem. Together, they ensured that the painter’s vision and legacy would endure for generations.

The first exhibition in Japan to focus on the Van Gogh family and their collection, ‘Van Gogh’s Home’ at the Tokyo Metropolitan Art Museum features over 30 of its protagonist’s works, from early drawings to late masterpieces, as well as four letters shown on these shores for the first time. The display traces the journey of the collection from the artist’s death to the present day, with highlights including immersive digital experiences and rarely seen works by Van Gogh’s contemporaries.

Marking 80 years since the end of the Pacific War and 40 years since Setagaya’s Peace City Declaration, the Lifestyle Design Center in Sangenjaya’s Carrot Tower invites visitors to reflect on childhood, daily life and peace across the turbulent decades of Showa Japan.

Curated by Akio Kasuga, a noted scholar of design and children’s culture and a professor emeritus at Tokyo Zokei University, the exhibition draws from his remarkable collection of more than 6,000 objects. On view are board games, picture books, magazines, toys, school supplies and everyday items spanning the pre-war, wartime and post-war years. These materials reveal how social upheaval, political control and cultural transformation were reflected in the lives of children.

The displays capture both the constraints of wartime propaganda and the post-war re-emergence of colour, creativity and hope, from early heroes of manga and animation to the optimism of rapid economic growth. By revisiting the tools of play and learning that shaped generations, the exhibition encourages visitors to consider the enduring themes of war, peace and the future of childhood in Japan.

Born Hirose Kinzo in Tosa (now Kochi prefecture), the enigmatic painter Ekin (1812-1876) became renowned for his striking depictions of Kabuki plays, festival banners and lanterns. Beloved in his home region, the artist mainly worked on folding screens that were often illuminated at night during summer festivals, captivating audiences with dramatic scenes of heroes, villains and ghosts. Though rooted in the government-approved style of the Kano school, Ekin’s art was uniquely theatrical, filled with tension, atmosphere and vivid storytelling.

This exhibition at the Suntory Museum of Art gathers together a plentiful selection of folding screens, scrolls and other festival-related works, many usually kept at shrines and local associations in Kochi. Highlights include two-panel screens illustrating some of Kabuki’s most suspenseful narratives, picture scrolls of annual events, and a newly discovered set of ema lanterns. One section recreates the shrine displays that once defined Kochi’s summer nights, immersing visitors in the festivals where Ekin’s works came to life.

By placing his masterpieces alongside works of his disciples and contemporaries, the exhibition not only celebrates Ekin’s genius, but also situates him within the vibrant cultural fabric of late-Edo Tosa.

This year marks a century since the International Exhibition of Modern Decorative and Industrial Arts in Paris gave birth to the Art Deco movement. The Tokyo Metropolitan Teien Art Museum celebrates with a dazzling display highlighting the work of jewellery house Van Cleef & Arpels, which won a Grand Prize at the landmark event 100 years ago with creations such as the ‘Entwined Flowers, Red and White Roses’ bracelet.

That gemstone-adorned stunner and around 250 other creations from the Art Deco giant, including jewellery, timepieces and accessory cases from the Maison’s patrimonial and private collections, will be exhibited alongside 60 archival documents.

The museum’s Main Building, once the residence of Prince Yasuhiko Asaka and itself an architectural masterpiece shaped by the Art Deco spirit, will display rare pieces crafted between the 1910s and 1930s. The annex, meanwhile, will highlight the Maison’s signature savoir-faire, transformable designs and exquisite gemstone artistry.

Seeking to facilitate dialogue between history, craftsmanship and design, the exhibition invites visitors to rediscover the artistic vitality of Art Deco while celebrating the enduring artistry and innovation of Van Cleef & Arpels.

Note that tickets must be purchased for a specified date and time slot. The museum will extend its opening hours to 8pm on November 21, 22, 28 & 29 and December 5 & 6.

With ‘Prism of the Real: Making Art in Japan 1989–2010’, the National Art Center, Tokyo offers an illuminating look at how Japanese and international artists responded to an era of seismic change – namely the two transformative decades that followed the end of the Showa era (1926–1989), when the Cold War’s conclusion and the onset of globalisation reshaped the world’s cultural landscape.

Featuring works by over 50 artists, the exhibition traces the evolution of contemporary art in Japan from the early stirrings of internationalisation in the 1980s through a period of creative fermentation marked by technological shifts, socio-political upheaval and the expansion of global dialogue. Across three thematic sections, visitors will be able to view a diverse array of works that grapple with identity, memory, war trauma, and the forging of new communal bonds.

Like a prism refracting light into myriad wavelengths, the exhibition highlights the multiplicity of perspectives that shaped artistic expression in Japan between 1989 and 2010, offering visitors a powerful lens on a pivotal cultural moment in Japan’s (and the world’s) history.

Though he died at just 37, Vincent van Gogh left behind a body of work that revolutionised modern art; an oeuvre celebrated for its swirling brushstrokes, bold colours and raw emotional force. Yet the Dutch master’s legacy is shaped as much by his turbulent life as by his luminous canvases, and this narrative of suffering and passion continues to captivate audiences around the world.

With ‘A Renewal of Passion’, the Pola Museum of Art in Hakone presents its first-ever exhibition dedicated to the post-Impressionist painter. Running until November 30, the display features key works from the museum’s own collection alongside historical and contemporary responses to Van Gogh’s art, highlighting how his fervent creativity has inspired generations of artists across continents and eras.

The show emphasises Van Gogh’s influence in Japan, where his deeply personal style resonated as early as the Meiji era (1868–1912), and highlights modern reinterpretations by artists such as Yasumasa Morimura and Fiona Tan. Composed of paintings, installations and archival materials, the exhibition offers a poignant meditation on the enduring power of Van Gogh’s vision in a changing world.