An era of economic prosperity in the U.S. ended when the New York Stock Exchange crashed in 1929. The Great Depression began in the U.S. and spread worldwide throughout the 1930s.

At the same time, Japan invaded northeastern China. In 1931 the Manchurian Incident occurred, and in 1933, Japan withdrew from the League of Nations. Subsequently, Japan became increasingly isolated from the international community. However, the U.S. was an important trading partner for Japan, especially for raw silk, and improving Japan-U.S. relations was a major priority for the country. For this purpose, Japan appointed Hiroshi Saito as its ambassador to the U.S. to promote cultural diplomacy between the two countries. After being appointed ambassador, AmbassadorSaito made radio speeches rejecting the theory of war between the U.S. and Japan and stressed the importance of strengthening Japan-U.S. relations in various parts of the country. Renzo Sawada, then Consul General of New York, also tried to improve Japan-U.S. relations by advocating for the coexistence of Eastern and Western cultures and promoting mutual amity between the two countries.

Amid concerns about the deterioration of relations between Japan and other countries, the New York Shimpo held an exhibition of Japanese art at the ACA Gallery from February 10th to March 2nd, 1935.

The exhibition featured 52 works by Yosei Amemiya, Minoru Aoki, Isami Doi, Makoto Hara, Toyoji Inouye, and his wife (first name unknown), Eitaro Ishigaki, Roy Kadowaki, Rinnosuke Kato, David Komuro, Yasuo Kuniyoshi, Kaname Miyamoto, Thomas Nagai, Kikuta Nakagawa, Fuji Nakamizo, Hideo Noda, Isamu Noguchi, Hirotatsu Nomura, Miki Sawada, Kiyoshi Shimizu, Soichi Sunami, Sakari Suzuki, Yashichi Suzuki, Chuzo Tamotzu, Bumpei Usui, Takeo Watari, and Chikamichi Yamasaki.

The New York Shimpo also published the following advertisement.

“The fact that we have been able to exhibit almost all of the works of famous and unknown Japanese artists in New York is a milestone in the cultural exchange between Japanese and residents of New York, and it is needless to say that it is due to the great sympathy and support of our fellow citizens. We sincerely hope that our fellow countrymen and women will enjoy the exhibition.”

(“Japanese Art Exhibition,” New York Shimpo, Feb. 9, 1935)

Notably, this exhibition included works by Issei artists, artists who were born in Japan and studied in the U.S., as well as Nisei and amateur artists living in New York. During the exhibition, a special reception was held for about 70 Japanese and American guests. Yasuo Kuniyoshi hosted the evening and featured a lecture by sculptor William Zorach, the director of the Whitney Museum of American Art. A lecture by Ryusaku Tsunoda of Columbia University titled “Exoticism and Retrospection” was also scheduled. Although he ultimately could not attend, his transcript was presented at the event on his behalf. Based on the lectures and the speakers, it seems likely that this reception was an event for English speakers, with the theme of integrating Eastern and Western cultures.

​​The ACA Gallery was a famous Gallery which held an exhibition of the John Reed Club and other liberal-minded artists. The gallery’s owner, Herman Baron, said that this exhibition enhanced the gallery’s reputation, and the exhibition of Japanese works was a unique event for the gallery.

After a reception with Japanese and U.S. experts, English-language newspapers reported on the exhibition as follows:

New York Post:

“Evidence of East Asian design and Occidental, forthright realism throughout the show. The most interesting works are those in which both East and West meet, a piquant touch of traditional flavor modifying the character of our contemporary modernism. For example, Minoru Aoki’s ‘Hamilton Street’ has much of a calligraphic character in its linear pattern, and there is something of the vividness and eloquence of Oriental gesture in Fuji Nakamizo’s ‘Boy Calling.’ Roy Kadowaki’s ‘Fantan Game’ is East transplanted to the West in lively, engaging terms”. 

 (Exhibit by Japanese Artists in New York” New York Post, Feb. 16, 1935)

New York Sun:

“The present display is an odd mixture of Japanese in name only to a large extent. Mostly, the exhibitors are tricked out in Western attire, through which native traits occasionally show rather awkwardly. Among those who brush aside the handicap most airily, one would note David Komuro, whose ‘Portrait’ and ‘Still Life’ might derive from West Fifty-seventh and Miki Sawada wife of Renzo Sawada, the Japanese consul general, who in her ‘Still Life’ and more particularly in her ‘Portrait’ carries her borrowed manner as gracefully as she likely does her Paris gowns, for she must have acquired that taste too. At the opposite extreme are the ‘Early Morning’ and ‘Painting’ of Kaname Miyamoto, the latter canvas in particular, if it is a canvas, being an abstraction with Japanese trimmings and, consequently, one of the most interesting things on the walls. […] those better known to the gallery frequenter, there are […]other examples that crowd to the fore and add to the interest of this display of the vagaries of race assimilation, artistically speaking.”   

(“East Meets West,” New York Sun, Feb. 16, 1935)

The exhibition of Japanese Art, sponsored by New York Shimpo in 1935 featured works not only by already well-known Issei artists but also by Nisei and amateurs of Japanese descent. The intent was to showcase works of art created by Japanese in diverse social contexts in New York, to demonstrate how they were both enjoying and integrating Japanese and American cultures and to promote cultural exchange between Japan and the United States.