Kusama's Pumpkins, Naoshima
A polka-dotted pumpkin at the end of a pier became the island's emblem; washed away by a typhoon, it was repaired and returned.
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A polka-dotted pumpkin at the end of a pier became the island's emblem; washed away by a typhoon, it was repaired and returned.
A working public bath plastered with the artist's collected signage and tile - an artwork the islanders wash in.
Tide pools left on the flats mirror the sky; a beach that photography discovered and turned into a destination.
Eight hundred paddies stacked up a slope, with a kabuki stage among them - farming and theatre in one view.
Two festival islands where the works scatter through hillside hamlets and the lanes become the route.
Where olives first took root in Japan; terraces cut into the slopes give the island a Mediterranean look.
A viewpoint built on the hill so the sand coin below can be read - the vantage point completing the work.
An island known for illegal industrial dumping became a festival site - and how openly that history is handled remains at issue.
Fourteen thousand reservoirs were dug across this dry plain; the cones of its hills and those artificial ponds compose it.
Abandoned terraces were brought back into cultivation alongside the museum's construction, so field and artwork share one view.
Volcanic rock eroded into towers and cliffs, each formation named along the route.
Seen from the shore it reads as a green mass floating on the sea - the archetype of an Inland Sea view.
The highest peak in western Japan, climbed on three sets of hanging chains provided as part of the pilgrimage.
Three thousand wells rise of their own pressure through the town - water built into the streets themselves.
Stone terraces cut into cliffs falling to the sea - said to be cultivated all the way to heaven.
Citrus terraces cover the island's slopes; Toyo Ito has worked here on tying farming back to architecture.
On winter mornings a river fog pours down to the sea; the river changes character with the season.
No dam on the main course, so the meanders remain; bridges and villages are all placed on the assumption of flood.
Giverny recreated in a mountain valley with the foundation's blessing - and here the blue water lilies Monet never got actually bloom.
Each earthquake lifts the coast a little more, leaving terraces - a global geopark where the ground's movement is legible.
Sandstone eaten by wind and wave into honeycombs and marbled surfaces - a shoreline carved by weather.
Granite cliffs at Shikoku's southern tip, reached through a tunnel of camellia branches.