Hitoshi Nomura, one of Japan’s most esteemed artists, though he is comparatively unknown in the West, finally received significant attention in the United States with two fall 2015 exhibitions: a one-person show at Fergus McCaffrey Gallery in Chelsea and inclusion in “For a New World to Come: Experiments in Japanese Art and Photography 1968–1979,” curated by Yasufumi Nakamori, at the Museum of Fine Arts, Houston and at the Japan Society and Grey Gallery in New York. These exhibitions continue a new-millennium interest in examining the international nature of the postwar avant-garde, something art history has treated as a primarily Western phenomenon. In this revaluation, Nomura emerges as a unique practitioner of experimental genres—unique because of the unusual way in which, figuratively and literally, he sculpts time. For most people, time unfolds as durational moments measured by one’s watch—equivocal units that for earthly mortals are relative to where on the globe one stands and how well one’s watch is working. …see the entire article in the print version of April’s Sculpture magazine.
