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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

Utagawa Hiroshige&#8217;s (1797–1858) iconic landscape series “One Hundred Famous Views of Edo” (modern-day Tokyo), first published in the 1850s, stands as one of the most celebrated collections of Japanese prints. Individual prints from this series of 118 are widely regarded as some of the finest achievements in Japanese art. Hiroshige captures locations in and around Edo during all four seasons, often from unique perspectives.
Inspired by Hiroshige’s compositions, British artist Emily Allchurch (born 1974) created “Tokyo Story” using digital collage and photography. Allchurch traveled to Tokyo in 2009 and visited places pictured by Hiroshige. While many places have changed radically and bear no resemblance to Hiroshige&#8217;s images, Allchurch photographed details of the urban landscapes she encountered through various angles and focuses.
Following Hiroshige&#8217;s compositional arrangements, dramatic cropping, and color gradations, Allchurch also manipulated details of the photographic data to create views that are at once familiar and strangely fresh. This exhibition connects the past and the present by featuring Hiroshige’s captivating sceneries along with Allchurch’s modern adaptations.

Print of a Japanese temple covered in snow with people walking around

Hiroshige&#8217;s 100 Views of Edo x Emily Allchurch

<blockquote>“Do I contradict myself? Very well then I contradict myself. (I am large, I contain multitudes.)”
&nbsp; 

—Walt Whitman, “Song of Myself, 51,” Leaves of Grass (1855)
</blockquote>
For 250 years, the United States has defined itself in terms of plurality. Its Latin motto, e pluribus unum (out of many, one), notes the interdependence of the multiple and the singular in our national conception.
This exhibition explores the diversity of American experience that photographs can hold, and the manner in which photographers have sought to “contain multitudes,” in the words of the 19th-century writer Walt Whitman, by maintaining an expansive ecosystem of images celebrating the contradictions of American life, culture, and history.

young woman wearing a turquoise tank top, turquoise and black skirt, white shoes and white beaded headdress, seated bareback on a white speckled horse, standing in front of a backdrop painted with blue sky and white clouds

Containing Multitudes

Derived from a Nahuatl word, a huipil is a traditional blouse worn by women throughout Mesoamerica, particularly among the Maya, since before the 16th century when the Spanish arrived in the region. The garment remains especially prevalent in Guatemala’s highland regions, where a majority of Maya descendants reside today.
Huipiles are traditionally handwoven on a backstrap loom in two or three rectangular panels, later sewn together. Decoration, motifs, and color choices serve as a visual language that uniquely identifies the wearer’s village and social standing.
The selection presented in this exhibition comes from a significant donation of textiles made to the museum by Richard Simmons and his wife. Their contribution has greatly enhanced representation of Latin American culture in the museum’s collection.

Guatemala woman's ceremonial blouse, or huipil, featuring white, red and orange colors

An Indigenous Art: Huipiles from Mia&#8217;s Collection

&#8220;Year of the Horse: Hoofbeats through Time&#8221; celebrates the enduring power, beauty, and symbolism of horses in Chinese art and culture. Across millennia, the horse has galloped through China’s imagination—as chariot puller, zodiac sign, loyal companion, and poetic metaphor.
This exhibition explores the horse as both a real creature and a cultural emblem—embodying strength, status, virtue, and aspiration. From ritual bronzes to scholar’s miniatures, imperial scrolls to popular expressions, the horse reveals a rich interplay of mythology, mobility, and meaning. As we welcome a new Year of the Horse, these timeless images invite reflection on what it means to move, strive, and endure.

Year of the Horse: Hoofbeats through Time

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

This exhibition features artwork by Twin Cities high school students that explores the connection between art and wellness. The teen artists look at how mental and behavioral health, identity, and creativity have been linked over time, and how people today use creative tools to heal, express themselves, and care for their communities.
The students met with artist-mentors at Mia for seven weeks this winter. Alexandra Beaumont, Shea Maze, and BakiBakiBaki shared their experiences and approaches to art making and contributed their own works to the exhibition. Facilitator Lissa Karpeh provided art therapy directives, or prompts, to guide the creative process.
Funding for this project is provided by Blue Cross and Blue Shield of Minnesota, as part of its commitment to investing in community-led solutions so everyone has the opportunity to achieve their healthiest life.
<img loading="lazy" decoding="async" class="alignnone wp-image-116976" src="https://images.artsmia.org/wp-content/uploads/2025/12/08154336/BCBSMN_full_blk.png" alt="logo of BlueCross and BlueShield" width="184" height="62" srcset="https://images.artsmia.org/wp-content/uploads/2025/12/08154336/BCBSMN_full_blk.png 629w, https://images.artsmia.org/wp-content/uploads/2025/12/08154336/BCBSMN_full_blk-385x130.png 385w" sizes="auto, (max-width: 184px) 100vw, 184px" />

People viewing a mixed media artwork featuring two figures.

Teen Perspectives: Yesterday and Today

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.
<a href="https://vimeo.com/1192640775" target="_blank" rel="noopener"><button class="black-background">Watch Video</button></a>

The Tapestry of the Meeting of Dante and Virgil (1547–49) by Francesco Salviati

https://images.artsmia.org/wp-content/uploads/2025/07/30161610/241007_MaxBryant_0010-WordPress3x2.jpg

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.

Calendar

Sunday, February 16, 2025

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Featured Events

Art & Wine and Art & Spirits

Meet at Mia: Summer Series 2026

Art & Dining After Dark

Teen Night

Studio Sessions

Preview Party: “Paris Couture”

Calendar

Sunday, February 16, 2025

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Ongoing Exhibitions

Ziba Rajabi: Belly Laugh at a Funeral

Back from the Underworld: Mia’s Dante Tapestry Restored

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