Yutaka Sone’s playful pursuit of the imaginary, the realm of fantasy, and physical affects provides a powerful alternative to the prevalent tendency of contemporary Japanese sculpture to simulate subcultural icons. Since his public emergence in 1993, Sone has placed contradiction at the core of his artistic practice, making gratuitous efforts for an apparently incidental purpose, or capturing in sculpture heightened perceptions of specific places—perceptions frequently attained through the disruption of habit by means of travel and athletics—turning the transient effects of light,

Only in his late thirties, Odani Motohiko is already receiving star treatment, as confirmed once again by his exhibition at the Mori Art Museum, comprising some sixty works created since 1997. Having come of age in what he calls the transitional period—that is, between the eras dominated by analog and digital media—Odani shows his dexterity in modes ranging from traditional crafts and wooden sculptures to multimedia installation. His styles are as various as his references, which range from Michelangelo to horror movies and modern Japanese sculpture. Accordingly, this expansive selection