This material was published in conjunction with the exhibition of the same title. It consists of three essays, each followed by notes that include bibliographical information, with a preface by Leon Paroissien and a 2-page-bibliography at the end. Essay by Annear touches on cultural and historical background of Japan, and the complex merger of traditional Japanese and Western culture. It discusses about each artist in relation to these issues, and concludes that the complexity is reflected in the contemporary art in Japan. The essay by Tatehata refers to the two conflicting tendencies that developed in post-war Japanese art; one assimilates Western context blindly, the other interprets it apart from Western concepts of art in search of indiginous originality (represented by Gutai and Mono-ha.) It also refers to the 1980s boom of Neo-Expressionism and Installation, arguing that none of those tendencies actually established truly Japanese identity. Tatehata looks at ten artists (including groups) in this exhibition as a generation that possibly establishes a Japanese identity, bringing true modernism in Japanese art. The essay by Yomota refers to the Japanese popular culture and its taste for nostalgia. It warns us that a mere nostalgia, in the vital speed of consumer society, would make us lose historical consciousness and critical interpretation. There is a section titled 'The Artists,' which provides a 4-page-information on each artist, including plates, biographical information, selected exhibition history, and a short article (or artist's statement in some cases.)