¹ Art and Engagement received the Association for the Study of the Arts of the Present 2019 book prize; see https://www.artsofthepresent.org/2019/10/31/winner-of-the-asap-2019-book-prize/ (accessed December 18, 2020).

² Including, but not limited to, Munroe, Alexandra, ed., Japanese Art after 1945: Scream against the Sky (New York: Abrams, 1994)Google Scholar; Tiampo, Ming, Gutai: Decentering Modernism (Chicago: University of Chicago Press, 2010)Google Scholar; the textual anthology by Chong, Doryun, Hayashi, Michio, Sumitomo, Fumihiko, and Kajiya, Kenji, eds., From Postwar to Postmodern, Art in Japan, 1945–1989 (Durham, N.C.: Duke University Press, 2012)Google Scholar; Munroe, Alexandra and Tiampo, Ming, eds., Gutai: Splendid Playgroun (New York: Guggenheim Museum, 2013)Google Scholar; Tomii, Reiko, Radicalism in the Wilderness (Cambridge, Mass.: MIT Press, 2016)Google Scholar.

³ Further articulated in the epilogue: “Hope in the Past and the Future,” pp. 256–68.

⁴ Linda Hoaglund, “Protest Art in 1950s Japan: The Forgotten Reportage Painters,” MIT Visualizing Cultures, https://visualizingcultures.mit.edu/protest_art_50s_japan/anp1_essay01.html (accessed December 18, 2020); Winther-Tamaki, Bert, Maximum Embodiment: Yōga, the Western Painting of Japan, 1912–1955 (Honolulu: University of Hawai‘i Press, 2012)Google Scholar.

⁵ E o kaku kodomotachi: jidōga o rikai suru tame ni, 38 minutes, black and white, https://www.imdb.com/title/tt0049068/?ref_=nm_flmg_dr_22.