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Yoshida Hodaka (1926–1995) was born into a family of artists. He was the second son of Yoshida Hiroshi (1876–1950), a leading Western-style artist in Japan during the early 20th century. Hodaka leaned toward abstraction and began exploring that path after his father&#8217;s death in 1950. In 1953, Hodaka married Chizuko (1924–2017), a trained painter. In addition to oil painting, both Hodaka and Chizuko worked in the woodblock print medium. In 1992, Hodaka created a set of six extraordinarily large prints that depict walls with great attention to structural features and surface details. This exhibition showcases the entire wall set together for the first time, along with Chizuko’s abstract works and playful groups of butterflies.

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abstract image: layers of bright orange and bright red loops and curlicues over brown circles extending from the upper left across to the lower right of the painting; bright blue, orange, brown, red, and tan squares throughout; horizontal bright blue narrow rectangles almost dance across the image.

The Abstract Worlds of Yoshida Hodaka and Chizuko

This exhibition explores the intimate world of Chinese fan painting—where poetry, calligraphy, and painted images converge in the palm of the hand. Featuring circular silk fans from the Song and Yuan dynasties (10th–14th centuries) and folding fans from the Ming and Qing period (14th–early 20th centuries), these works reflect centuries of refined aesthetic practice, personal expression, seasonal contemplation, and spiritual reflection.
Whether created by court artists or literati scholars, each fan carries the rhythm of the brush and the breeze: a fleeting moment captured in ink. Drawn from Mia’s rich collection, the selected fans invite viewers to experience how art, nature, and verse were held—literally and symbolically—in one’s grasp.

fan mounted as an album leaf; two fishermen at sea during a storm; rocks and bending trees in foreground lower right, fishermen at lower left, bamboo behind boat with a mountain range in the distance

Ink Rhythms on the Breeze: The Art of Chinese Fan Paintings

Contemplative, humorous, inventive, and surreal. These are just a few of many apt descriptions of the artworks of the Japanese artist Kenji Nakahashi. His active imagination, curiosity for his immediate environment, and embrace of the mundane provided endless inspiration and subjects for his art, inviting questions and reflections about life and everyday objects.
Born and educated in Japan, Nakahashi moved to New York City in 1973 at the age of 26, finding in the bustling metropolis the creative stimuli that would sustain his practice for the rest of his life. Best known for his concept-driven photography, Nakahashi actively experimented with a diverse range of mediums, including drawing, painting, collage, and printmaking. Relying on absurdity, visual and textual puns, and unusual juxtapositions, Nakahashi’s enigmatic images encourage viewers to contemplate both the strange and captivating aspects of everyday life.
Blending playfulness and intellectual vigor, Nakahashi often toyed with viewer’s expectations, depicting such mundane objects as street signs, drinking glasses, a hot-water bottle, and analog clocks in unfamiliar or even surreal contexts. Other subjects include storefronts, subway platforms, soaring skyscrapers, and mysterious fictional landscapes. He routinely flattened and fragmented the built environment of the city and its inhabitants into abstract geometric and kaleidoscopic forms, resulting in images that surprise, challenge, and delight.
Celebrating a recent anonymous gift of Nakahashi’s work to Mia’s collection, this exhibition showcases more than 60 photographs, prints, drawings, watercolors, collages, and one painting, representing the artist’s career from the 1970s through the early 1990s.

Two identical round clocks placed on opposite trays of a metal balance scale. Both clocks have white faces with black numbers and hands. The clock on the left shows the time at 12:04, while the clock on the right displays 12:15.

Kenji Nakahashi: A Confident Life

For as long as there have been cameras, photographers have trained their lenses upon the human form: our heads, shoulders, knees, toes, and much more. The body is an expressive instrument, able to convey meaning through the smallest of gestures: a flick of the wrist, a purse of the lips, a bow from the waist.
Drawn from Mia’s permanent collection, all of the print photography in this show invites us to revel in the wonder of our corporeal nature—our vast capacities for communication, even in stillness, to manifest joy, playfulness, sorrow, alienation, and many other emotions through bodily signs and signatures.

Two separate photographic images forming one large image; large black-and-white image of three clasped hands at bottom center; smaller color images surrounding image of hands and handwritten notes

Head, Shoulders, Knees, and Toes

Meruhen, the Japanese word for fairy tales, originated from the German word Märchen, coined in the 15th century. The word meruhen first appeared in the early 20th century among Japanese writers interested in European romanticism and children’s literature. It soon became mainstream, and fairy tales, not only of German origin, remain popular today.
Several print artists like Kawano Kaoru (1916–1965) and Minami Keiko (1911–2004) presented fairy tale settings in their work, depicting young girls in innocent, dream-like scenarios, interacting with birds or other animals. This exhibition showcases their work along with prints by Kanamori Yoshio (1922–2016), Hori Hikaru (1952–2019), and Suzuki Atsuko (born 1968).

The illustration shows a stylized figure standing on a hill, holding a staff. Next to the person is a small dog. The hill is covered with curved, dotted lines creating a stippled pattern. To the left, a cluster of sheep is also depicted using similar lines. In the upper background, a sun with radiating lines is visible. The entire image is monochromatic, with shades of beige and light brown.

Meruhen: Japanese Prints of Fairy Tales

Few people outshine Mary’s glorious stardom. During 2,000 years of veneration, many legends have augmented the biblical outlines of her life. The stories have provided rich inspiration for artists, who often made their best efforts to create beautiful and affecting images of the Blessed Mother, Virgin, Mother of God, Our Lady, Madonna, Queen of Heaven.
This exhibition traces the life of this modest, yet courageous woman through prints and drawings from Mia’s extensive collection. They show her doing the ordinary—caring for children, moving house, and picnicking—and the extraordinary—greeting royalty and physically rising to heaven.

Black and white drawing depicting two figures, Mary and Joseph, seated in a forest-like setting with trees and bushes. Both are wearing flowing garments, and Mary is holding a child.

Mary

This exhibition features paintings, sculptures, and religious images from the collection of Mary Ingebrand-Pohlad, a longtime trustee and supporter of Mia. Living between Minneapolis and Palm Springs, California, the collector has built a collection that reflects California as a place where American and Latin American cultures intersect.
Blending depictions of the arid landscapes of the American West with works by artists of Latin American descent—many of whom have lived or worked in the United States—the collection offers a lens through which to understand the region’s cultural interplay. Artists such as Diego Rivera, Alfredo Ramos Martínez, and Miguel Covarrubias invite viewers to consider the resilience and creativity that emerge from these crossings, where geography and identity continuously shape one another.

abstract painting of a woman's face with expressive eyes and gray-brown hair and swirls of orange, red, and brown colors in the background

Meeting Point: The Mary Ingebrand-Pohlad Collection of Latin American Art

What is physically the largest Italian Renaissance masterpiece in the United States? The answer has been in storage at Mia for nearly 70 years.
This exhibition brings back to view Francesco Salviati’s tapestry depicting the meeting of Dante and Virgil at the beginning of the Inferno. Over 17 feet tall, the tapestry was created to cover an entire wall of the Palazzo Salviati in Florence and was woven in the 1540s at a workshop established by the Grand Duke Cosimo de Medici.
Thanks to a grant from The European Fine Arts Foundation (TEFAF), the tapestry has recently undergone conservation, allowing it to be stabilized and safely displayed once again. Due to its sensitivity to light, however, it can only be exhibited for a limited time—making this a rare opportunity to experience the work in person.
<img loading="lazy" decoding="async" class="alignnone wp-image-119391" src="https://images.artsmia.org/wp-content/uploads/2026/06/24154908/SalviatiTapestry_SponsorLockup-V1-855x150.png" alt="Logos of collaborating organizations" width="461" height="81" srcset="https://images.artsmia.org/wp-content/uploads/2026/06/24154908/SalviatiTapestry_SponsorLockup-V1-855x150.png 855w, https://images.artsmia.org/wp-content/uploads/2026/06/24154908/SalviatiTapestry_SponsorLockup-V1-2000x351.png 2000w, https://images.artsmia.org/wp-content/uploads/2026/06/24154908/SalviatiTapestry_SponsorLockup-V1-385x68.png 385w, https://images.artsmia.org/wp-content/uploads/2026/06/24154908/SalviatiTapestry_SponsorLockup-V1-768x135.png 768w, https://images.artsmia.org/wp-content/uploads/2026/06/24154908/SalviatiTapestry_SponsorLockup-V1-1536x270.png 1536w, https://images.artsmia.org/wp-content/uploads/2026/06/24154908/SalviatiTapestry_SponsorLockup-V1-2048x360.png 2048w" sizes="auto, (max-width: 461px) 100vw, 461px" />

Max Bryant, Mia’s James Ford Bell Associate Curator of European Decorative Arts and Sculpture, explores the tapestry’s artistic significance and the fascinating story of its conservation.
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The Tapestry of the Meeting of Dante and Virgil (1547–49) by Francesco Salviati

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Medieval tapestry depicting people and animals in a forest setting.

Back from the Underworld: Mia’s Dante Tapestry Restored

Drawing on ancient practices from the Iranian plateau and Mesopotamia, Ziba Rajabi’s exhibition features textile works that explore the emotions following grief—peace, acceptance, healing, and progress. Presented with a soundtrack and cushions, the installation invites visitors to gather and experience collective reflection.
Rajabi (Tehran, Iran) was the inaugural recipient of the DAG Prize in Visual Art, DAG Foundation. She&#8217;s received additional support from the Jerome Foundation and the Mid-America Arts Alliance. Her work has been included in numerous national and international exhibitions, including Crystal Bridges Museum of American Art, Arkansas; CICA Museum, South Korea; 21C Museum, Arkansas; and Araan Gallery, Iran, among others. She was in residence at Skowhegan School of Painting and Sculpture, Vermont Studio Center, and Terrain Residency. She received her MFA from the University of Arkansas, Fayetteville, and her BFA from the Sooreh University, Tehran.
This exhibition is part of the <a href="https://new.artsmia.org/exhibitions/maep/">Minnesota Artists Exhibition Program</a>.
Support provided by RBC Wealth Management.

Photo of a wall made up of small squares in bright red, orange, pink, and blue

Ziba Rajabi: Belly Laugh at a Funeral

Over the course of a year, a group of talented artisans in Yautepec created an intricately beaded and feathered costume known as a Chinelo as a gift to members of the Mexican diaspora in the Twin Cities. The suit, titled Immigrants, celebrates working people across national borders and highlights the essential contributions of Mexican workers in North America.
As a form of artistic resistance that emerged during the colonial period, Chinelos also embody cultural resilience. Blending Catholic and Indigenous visual traditions, elaborately masked Chinelo dancers could anonymously mock—especially during Carnival celebrations—the governing authority of European colonizers. Today, Chinelos are a popular feature of Independence Day and Carnival celebrations throughout the Mexican state of Morelos, parts of the State of Mexico, and Mexico City, especially in the boroughs of Milpa Alta, Tlalpan, Xochimilco, and Magdalena Contreras.
Through the efforts of artist and educator Xavier Tavera and the collective generosity of the artisans of Morelos, Immigrants entered Mia’s collection in 2025, ensuring future public appreciation of this one-of-a-kind work of art.

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colorful mosaic illustrating a variety of workers engaged in different activities, including construction, food service, and agricultural work.

“Immigrants”: A Gift from Morelos to Mia

In the 1957 movie Funny Face, Audrey Hepburn tells Fred Astaire, whose character is based on the photographer Richard Avedon, to “Take the picture! Take the picture!” This memorable scene homes in on the importance of the sitter and photographer relationship in determining when the moment is just right to take a photograph.
This exhibition draws mainly from Mia’s photography collection and from across the medium’s history to explore different types of portraiture. The selection includes artworks in which performance, collaboration, and experimentation are at the core of their making—and others when chance proves pivotal to depicting someone’s likeness.

Black and white photo of a dresser with a portrait, bottles, and figurine

Take the Picture!

How can a life in art help one to heal from generational trauma? In his landmark exhibition and feature-length film “Exhibiting Forgiveness,” celebrated contemporary artist Titus Kaphar draws upon his early life and coming of age to create a transmedial and deeply personal response to that question.
Through a selection of paintings made specifically for the film, this exhibition focuses upon essential moments in Kaphar’s storyline to immerse visitors in a process of recognition, understanding, and acceptance that parallels his character’s journey to adulthood within the film.

Titus Kaphar’s screenplay Exhibiting Forgiveness tells the story of a father and son who reunite after years of estrangement and follows their choices as to how to make peace with the past. Featuring hundreds of film stills and paintings, this book documents the development of Kaphar’s movie from script to screen.
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Large painting of a house with a figure of a child pushing on its edge.

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Exhibiting Forgiveness

In &#8220;María Berrío: Songlines,&#8221; the Colombian artist builds monumental scenes by layering hand-cut Japanese paper onto canvas—constructing images mostly piece by piece with rare areas of painting. Figures and forms emerge through this meticulous process, creating dense compositions that shift between precision and abstraction. Bringing together artworks from the past decade, the exhibition traces how Berrío draws on literature, music, and global histories to create symbolic, open-ended narratives.
&#8220;María Berrío: Songlines&#8221; is organized by the Minneapolis Institute of Art and San José Museum of Art.
Following its presentation in Minneapolis, the exhibition will travel to the San José Museum of Art, where it will be on view February 12–July 12, 2027. It will then be on view at the Wichita Art Museum August 14, 2027–January 2, 2028.
Generous support for the national exhibition tour provided by Hauser &amp; Wirth and Victoria Miro. Mia&#8217;s presentation made possible with kind support from iArtis Foundation and Maria G Bales.

This catalogue was published on the occasion of María Berrío&#8217;s nationally touring exhibition and includes texts by Berrío, Katherine Brodbeck, co-curators Lauren Schell Dickens and Leslie Ureña, and an interview with the artist by Valéria Piccoli, alongside copious illustrations and details of Berrio&#8217;s spellbinding work.
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Painting of group of people gathered indoors, seated on chairs arranged in a circle. In the foreground, a person in a blue dress with intricate patterns and a fur collar lies back on an armchair, eyes open. To the left, a person bends over a container, preparing something. Several other individuals sit closely together, some holding papers and others interacting or playing games.

María Berrío: Songlines

Come enjoy crop art without the crowds! The Great Minnesota Get-Together returns to Mia in 2026 as curators once again pick outstanding pieces from the Minnesota State Fair’s beloved crop art showcase.
Expanding on last year’s celebration, this exhibition presents more than 20 works by crop artists, featuring the five that earned the coveted “Best in Show” ribbons.

Calendar

Saturday, October 3, 2026

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Featured Events

Preview Party: “Paris Couture”

Titus Kaphar: “Exhibiting Forgiveness” Public Guided Tours

Film Screening: Saint Laurent

“Paris Couture” Public Tours

Panel Discussion: The State of Fashion in Minnesota

The Subject Lecture Series

Open Studio: Fall Break

Kitchens of Hope: Immigrant Stories, Food, and Art

The Gaily Show x Mia Film Festival

Looking Back, Designing Forward: Karl Lagerfeld and Fashion History

The Arnold and Augusta Newman Lecture Series: An-My Lê

Mafic Ocean x Meet at Mia: “Paris Couture”

MAEP Artist Talk: Rotem Tamir

Friends Lecture: Lalla Essaydi

Calendar

Saturday, October 3, 2026

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Ongoing Exhibitions

Cream of the Crop: The Second Harvest

María Berrío: Songlines

Exhibiting Forgiveness