Teppei Kaneuji gained public recognition with his unusually early retrospective at the Yokohama Museum of Art in Japan in 2009, when he was just thirty-one. Hailed as a representative of a new generation of Japanese artists, Kaneuji uses laborious craftsmanship to dissociate banal products from their habitual contexts. He has been best known for sculptures and collages using everyday products in series such as “White Discharge,” 2002–, quasi-architectural constructions assembling action figures, plastic food models, and other inexpensive small objects, covered with white-painted resin, or “Sea

Last year was Miwa Yanagi’s annus mirabilis—the year of three solo exhibitions that included the installation Windswept Women: The Old Girls’ Troupe, 2009, at the Japanese Pavilion of the Fifty-third Venice Biennale. This new show combines several photographs from the “Fairy Tales” series, 2004–2006, and a brand-new video, Lullaby, 2010. The artist’s trademark games of scale, which were also important to her Biennale installation, are in evidence here; only now, instead of confronting viewers with giant keepsake frames holding life-size portraits of scantily clad amazons, Yanagi has contained