日本自1980年代起以高比例被欧美主要机构展出，现代与后现代艺术被重新纳入全球现代主义叙事；两项展览呈现的时间跨度涵盖1945年后至2010年，突出长期被忽视的女性艺术家与“泡沫经济”崩溃后20余年的社会文化变动。Toyota 的“Anti-Action”展（展至11月30日）围绕14名女性创作者，以2019年提出的“反行动”概念对1950年代以男性为中心的“行动绘画”神话进行结构性反向阅读；年龄区间从1924年至1933年出生者为主，作品材料统计上涵盖油彩、几何构成、装置、混合媒材（如沥青、石膏、竹子、乒乓球）。其中三人隶属于1954年成立的 Gutai，形成日本战后实验艺术的重要比重。

Tokyo 的“Prism of the Real”（展至12月8日）集中展示1989至2010年间艺术生产的社会触发点：1989年切尔诺贝利事故、1995年阪神淡路地震与地铁沙林案、以及1980年代末经济泡沫造成的环境污染。典型案例包括 1990 年 Noboru Tsubaki 的大型“Esthetic Pollution”与 1989 年“Fresh Gasoline”的双件结构；Tatsuo Miyajima 1990 年的 LED 数字环境；Yoshitomo Nara 针对“kawaii”文化的图像模式；以及 Shinro Ohtake 的光学操控影像装置，构成跨材质、跨技术系统的高密度样本。

展览并纳入外籍艺术家对日本的观察与实践，以1990年 Lee Bul 的“Untitled (Cravings Red)”为重点，其服装构造以多肢附生形态象征父权压制；Navin Rawanchaikul 自1990年代末起在福冈累积的大量漫画、横幅与日常记录构成跨文化叙事档案。两展覆盖半世纪以上生产轨迹，显示现代主义形式输入与后现代批判在本土吸收、变异与再创造的比例性连续，使外来理论被转化为具日本特性的视觉语言。

Japanese modern and contemporary art has gained sustained global visibility since the 1980s, with major Western museums integrating it into the broader modernist timeline; two current exhibitions map a span from the post-1945 era to 2010, foregrounding overlooked female innovators and the socio-cultural shifts after the economic bubble. Toyota’s “Anti-Action” (through Nov. 30) centers on 14 women whose birth years cluster between 1924 and 1933, using the 2019 “anti-action” concept to counter the male-dominated 1950s “action painting” narrative; materials range across oil, geometric abstraction, installation, and mixed media including asphalt, plaster, bamboo, and ping-pong balls. Three artists belonged to the Gutai group founded in 1954, anchoring their contributions within Japan’s postwar experimental ratio.

Tokyo’s “Prism of the Real” (through Dec. 8) concentrates on stimuli from 1989 to 2010: the 1989 Chernobyl disaster, the 1995 Hanshin-Awaji quake and subway sarin attack, and 1980s pollution tied to bubble-era growth. Key works include Noboru Tsubaki’s 1990 “Esthetic Pollution” paired with his 1989 “Fresh Gasoline,” Tatsuo Miyajima’s 1990 LED numerical chamber, Yoshitomo Nara’s critiques of kawaii culture, and Shinro Ohtake’s light-manipulated image constructions, forming a high-density cross-material dataset.

Foreign artists’ Japan-related productions expand the sample range, with Lee Bul’s 1990 “Untitled (Cravings Red)” using multi-limbed costume morphology as an anti-patriarchal statement, and Navin Rawanchaikul’s post-1990s comics, banners, and everyday chronicles generating a cross-cultural narrative archive. Together the exhibitions cover over half a century of production, showing how imported modernist forms and postmodern critique underwent localized absorption, mutation, and recomposition, transforming external theories into distinct Japanese visual systems.