I spent much of 2025 working on this collection of essays by Japanese, Asian, European, and American curators, researchers, and artists. More Than One World looks back at Japanese photography’s place in the global historiography of the medium since the landmark exhibition New Japanese Photography held at MoMA in 1974. 

For Ryudai Takano’s latest collection from his kasubaba series, published in conjunction with his 2025 retrospective at TOP museum in Tokyo, I contributed the essay, “An Ode to the Overlooked” looking at how his streetscape practice has evolved into a kind of photographic mindfulness.  

T3 Photo Festival Tokyo 2024 focused on the exhibition New Japanese Photography held at the Museum of Modern Art (MoMA) in New York in 1974, which has had a major, long-lasting impact on the study and understanding of Japanese photography overseas. To mark the fiftieth anniversary of this landmark show, I curated two projects for T3 that reconsider its legacy.

Hitoshi Fugo released his latest book KAMI published by L’Artiere at Paris Photo 2025. A companion piece to his brilliant FLYING FRYING PAN, I edited this project which was decades in the making, combining images taken in the aftermath of the Great Hanshin Earthquake of 1995 with images of a roll of paper recovered by the artist from a printing factory after a fire. A prescient book for these times. 

As part of the Paris Photo 2025 conversations programme, I hosted a talk with Damarice Amao, Julie Jones, and Yasufumi Nakamori on photography as a collective practice through the case of the All Japan Students’ Photo Association (AJSPA) and their “group photographic action” on Hiroshima.

I copy-edited this collection of Takuma Nakahira’s essays (the first of its kind in English) translated and edited by Daniel Abbe and Franz Pritchard and published by Aperture. Not to be missed, notably “Interlude”, in which Nakahira recounts the evening on which he set fire to his negatives on the beach.