While fiscal 2025 has seen the opening of the Osaka-Kansai Expo, wars and conflicts persist in many parts of the world, with national and ethnic tensions and polarization growing more severe. Disasters such as earthquakes, floods, and wildfires are occurring with increasing frequency, and various forms of basic societal infrastructure are failing to function, contributing to a heightened sense of anxiety about the future.

The impact of today’s crises casts a shadow on the activities of museums and, by extension, on the work of artists. The special exhibition No Boundaries, which continued from the previous fiscal year through June 1, explored how various boundaries, not only those between nations but also psychological, social, and cultural divides, might be crossed and translated into artistic form. Prolonged Emergencies, held from June 28 to October 5, moved a step further by asking how we might respond to a situation in which states of emergency have become the norm. Rather than offering answers, the exhibition took shape as a place to search for moments of hope within a range of artistic approaches and situations. For a Placard, on view from November 1 to February 15, 2026, is a group exhibition that takes its title from the Kyushu-based avant-garde artist Tabe Mitsuko. It brings together works that question established values, institutions, and social structures, amplify voices that often go unheard, and invite reflection on the relationship between living and artistic practice.

Collection exhibitions will be held alongside the special exhibitions and will present a wide-ranging program that includes recently acquired works. Beginning with Collection 2: Undo, Redo, which continues from the previous fiscal year, the program also includes exhibitions focusing on Circles and Rings in Postwar Art and other themes. We invite visitors to look forward to these exhibitions. In recent acquisitions, the museum has sought to avoid an excessive emphasis on contemporary art from Europe and the United States by closely tracking developments in Asia, while also focusing on the activities of women artists as part of efforts to improve gender balance.

In the area of education and outreach, we will continue to offer thoughtfully designed programs that build upon both collection and special exhibitions. We are also establishing Family Days several times a year, during which families with children can view exhibitions without concern for disturbing other visitors. On these days, parents and children can enjoy the galleries together, speaking freely, even if small children cry or become restless.

We are also continuing work on cataloging archival materials related to contemporary art that have been acquired through the museum’s activities. These materials are made available on our website.

The National Museum of Art, Osaka opened in 1977, reusing the building that had served as the Expo Museum of Fine Arts, one of the pavilions of the 1970 Osaka Expo. Inheriting the world-connecting legacy of the Expo, the museum has developed as a hub for international contemporary art. Looking ahead, we aim to broaden our outlook, move beyond established frameworks, and open up new and exciting encounters with contemporary art from Japan and around the world.

Once again this year, all of us at the National Museum of Art, Osaka eagerly await your visit.

June 2025