1. Six Episodes of Convergence Between Indian, Japanese, and Mexican Art from the Late Nineteenth Century to the Present
  2. Bert Winther-Tamaki
  3. pp. 13-32
  4. DOI: 10.1353/roj.2016.0002
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  1. Picasso as Other—Koyama Fujio and the Polemics of Postwar Japanese Ceramics
  2. Yasuko Tsuchikane
  3. pp. 33-49
  4. DOI: 10.1353/roj.2016.0005
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  1. Pictures of Beautiful Women: A Modern Japanese Genre and Its Counterparts in Europe, China, Korea, and Vietnam
  2. Kojima Kaoru
  3. pp. 50-64
  4. DOI: 10.1353/roj.2016.0008
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  1. A “Pirates’ View” of Art History
  2. Inaga Shigemi
  3. pp. 65-79
  4. DOI: 10.1353/roj.2016.0011
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  1. From The Sea Beyond: Hōsui, Seiki, Tenshin, and the West Sea of Hybridization: In Dispute over Urashima
  2. Takashina Erika, Christina M. Spiker
  3. pp. 80-103
  4. DOI: 10.1353/roj.2016.0014
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  1. Resources, Scale, and Recognition in Japanese Contemporary Art: “Tokyo Pop” and the Struggle for a Page in Art History
  2. Adrian Favell
  3. pp. 135-153
  4. DOI: 10.1353/roj.2016.0000
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  1. Four Projects
  2. Ozawa Tsuyoshi
  3. pp. 154-164
  4. DOI: 10.1353/roj.2016.0004
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  1. From The Sideshow Called Fine Art
  2. Kinoshita Naoyuki, Michael P. Cronin
  3. pp. 165-188
  4. DOI: 10.1353/roj.2016.0007
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  1. Reality Within and Without: Surrealism in Japan and China in the Early 1930s
  2. Chinghsin Wu
  3. pp. 189-208
  4. DOI: 10.1353/roj.2016.0010
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  1. Fukuhara Shinzō and the “Japanese” Pictorial Aesthetic
  2. Karen M. Fraser
  3. pp. 209-227
  4. DOI: 10.1353/roj.2016.0013
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  1. From Temple of the Eye – Notes on the Reception of “Fine Art”
  2. Kitazawa Noriaki, Kenneth Masaki Shima
  3. pp. 228-241
  4. DOI: 10.1353/roj.2016.0016
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  1. From Van Gogh as Intellectual History: The Reception of Reproductions and Imagination
  2. Kinoshita Nagahiro, Kevin Singleton
  3. pp. 242-265
  4. DOI: 10.1353/roj.2016.0020
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  1. Minor Transnational Inter-Subjectivity in the People’s Art of Kitagawa Tamiji
  2. Yuko Kikuchi
  3. pp. 266-284
  4. DOI: 10.1353/roj.2016.0003
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  1. The Imagined Map of the Nation: Postwar Japan from 1945 to 1970
  2. Hayashi Michio
  3. pp. 285-303
  4. DOI: 10.1353/roj.2016.0006
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  1. Deactivating the Future: Sawaragi Noi’s Polemical Recoil from Contemporary Art
  2. Kenichi Yoshida
  3. pp. 318-340
  4. DOI: 10.1353/roj.2016.0012
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  1. From Art and Identity: For Whom, For What? The “Present” Upon the “Contemporary”
  2. Satō Dōshin, Sarah Allen
  3. pp. 341-361
  4. DOI: 10.1353/roj.2016.0015
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  1. Art in Focus
  2. Reiko Tomii
  3. pp. 362-365
  4. DOI: 10.1353/roj.2016.0018
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  1. On the Contributors
  2. pp. 366-373
  3. DOI: 10.1353/roj.2016.0001
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