A painting by On Kawara, titled MAY 11, 1967, dated 1967.

 (29,771 days) developed a distinct and highly nuanced form of artistic expression that engaged with chronological time and its function as a measure of human existence. A key figure in the conceptual art movement that emerged in New York in the 1960s, the artist created a significant body of work organized into discrete series that together form a meditative examination of time and place. At once specific and universal, rigorous and expansive, Kawara’s work encompasses the simultaneous mundanity and vastness of lived experience, and allows for a multiplicity of meanings.

Born in Kariya, Japan, Kawara moved to Tokyo in 1951 immediately after graduating from high school, where he established himself as a key member of the rising postwar avant-garde. Kawara left Japan in 1959, moving to Mexico City for several years, during which time he studied modern art and traveled around the country—a period that proved formative in the development of his later work. Between 1962 and 1964, he lived between New York and Paris, before settling permanently in New York, though he would continue to travel extensively for the rest of his career, making work in countries around the world.

Kawara’s work has been represented by David Zwirner since 1999. Solo exhibitions at the gallery include 

Reading One Million Years (Past and Future)

On Kawara: Date Painting(s) in New York and 136 Other Cities

which presented more than 150 Date Paintings selected by the artist, marked his fifth solo exhibition at the gallery in New York and was accompanied by an eponymous, fully illustrated catalogue published by Ludion.

The artist started exhibiting in Tokyo in the early 1950s. In the years since, his works have been included in numerous conceptual art surveys from the seminal 

 at The Museum of Modern Art, New York, in 1970 to 

1965–1975: Reconsidering the Object of Art 

at the Museum of Contemporary Art, Los Angeles, in 1995. Important early solo shows include 

On Kawara, 1973 – Produktion eines Jahres/One Year’s Production

 at the Kunsthalle Bern and the Palais des Beaux-Arts, Brussels, in 1974; 

On Kawara: continuity/discontinuity 1963–1979

, which was first on view at the Moderna Museet in Stockholm in 1980 and traveled to the Museum Folkwang, Essen, Germany; Van Abbemuseum, Eindhoven, the Netherlands; and The National Museum of Art, Osaka; 

, which toured from 1991 to 1993 to the Museum Boijmans Van Beuningen, Rotterdam; Deichtorhallen Hamburg; Museum of Fine Arts, Boston; and the San Francisco Museum of Modern Art; 

, on view from 1996 to 1998 at the Nouveau Musée/Institut d’art contemporain, Villeurbanne, France; Castello di Rivoli, Turin; Museu d’Art Contemporani de Barcelona; Musée d’Art Moderne, Villeneuve d’Ascq, France; and the Museum of Contemporary Art, Tokyo; and 

at the Städtischen Galerie im Lenbachhaus und Kunstbau München, Munich, and Museum Ludwig, Cologne, in 2000–2001.

 is a monumental series of twenty-four works comprising 

, which was dedicated to “all those who have lived and died,” and 

 volumes, noting each year over an entire millennium from 998,031 BC, were started in 1970 and took two years to complete, while 

, begun in 1980, was written over the span of eighteen years and finishes at 1,001,997 AD. Together, the volumes account for two million years. The first audio presentation of 

, where male and female volunteers alternately speak the dates aloud, took place at Dia Center for the Arts, New York, in 1993, and other venues have included Musée d'Art Moderne de la Ville de Paris (2000); David Zwirner, New York (2001 and 2009); Documenta 11, Kassel (2002); Trafalgar Square, London (a continuous outdoor reading organized by the South London Gallery lasting seven days and seven nights, 2004); Stedelijk Museum, Amsterdam (2010); BALTIC Centre for Contemporary Art, Gateshead, England (2012); Jardin des Plantes, Paris (organized in conjunction with FIAC by Galerie Martine Aboucaya and Galerie Yvon Lambert, 2012); Dia Beacon, New York (2013); and BOZAR – Centre for Fine Arts, Brussels (2013). In 2017, a reading took place in the Oratorio di San Ludovico Dorsoduro, Venice, as part of the 57th Venice Biennale (organized by Ikon Gallery, Birmingham, England). More recent readings have been held at venues such as the Museum MACAN, Jakarta (2018–2019); Mathematisch-Physikalischer Salon, Staatliche Kunstsammlungen Dresden (2021); Garage Museum of Contemporary Art, Moscow (2021); Bundeskunsthalle Bonn, Germany (2021); Saint-Martin Bookshop, Brussels (2022); FRONT International: Cleveland Triennial for Contemporary Art, Ohio (2022); and Kunsthal Charlottenborg, Copenhagen (2023–2024). Readings from the books, which directly follow where the previous venue left off, will continue to take place.

Beginning in 1998, the artist exhibited seven Date Paintings at kindergartens around the world under the title 

. Among other locations, the paintings have been presented in Abidjan, Côte d’Ivoire; Leticia, Colombia; Toliara, Madagascar; London; Thimphu, Bhutan; Bequia, Saint Vincent and the Grenadines; Yusuhara, Japan; Bethlehem; Brooklyn, New York; Tongyeong, South Korea; Münster, Germany; and Dazaifu, Japan.

Starting at the Ikon Gallery in Birmingham, England, in 2002, 

On Kawara: Consciousness. Meditation. Watcher on the Hills

 traveled clockwise around the world to a dozen venues including Le Consortium, Dijon, France; Kunstverein Braunschweig, Germany; Institute of Contemporary Arts Singapore; and The Power Plant, Toronto, before ending at the Museo de Arte in Lima in 2006. In 2015, a critically acclaimed, career-spanning exhibition of the artist’s work, 

, was organized by the Solomon R. Guggenheim Museum in New York. Curated by Jeffrey Weiss with Anne Wheeler, it marked the first full representation of Kawara’s practice beginning in 1964. Also on view in 2015 was a solo show specially focused on Kawara’s production in 1966—a pivotal year in his practice—at the Museum Dhondt-Dhaenens in Deurle, Belgium. A long-term installation of the artist’s Date Paintings is on view at Dia Beacon, New York.

Work by the artist is represented in museum collections internationally, including the Centre Pompidou, Paris; Hara Museum of Contemporary Art, Tokyo; Kunstmuseum Basel; The Metropolitan Museum of Art, New York; Moderna Museet, Stockholm; Museum of Contemporary Art, Tokyo; Museum Ludwig, Cologne; The Museum of Modern Art, New York; National Gallery of Art, Washington, DC; The National Museum of Modern Art, Tokyo; Philadelphia Museum of Art; San Francisco Museum of Modern Art; Tate, United Kingdom; Toyota Municipal Museum of Art, Toyota City, Japan; and the Whitney Museum of American Art, New York.

On Kawara, One Million Years (Past), 1970-1971, Page 2001.

Texts by On Kawara, Makoto Oda, and Tadashi Yokoyama

A scarce catalogue on Kawara's previously unstudied five-year stay in Tokyo, where he was part of influential avant-garde art student associations and wrote many pieces of art criticism. His violent and grotesque imagery from this period is in stark contrast to his streamlined conceptual 

series (1953-54; Tokyo National Museum of Modern Art), Events in a Warehouse and a number of figurative paintings and drawings executed in Japan.There are two essays, in both Japanese and English, "The History of an Odd Generation" by Makoto Oda, and "At the Junction of Time and Space: On Kawara in the 1950s" by Tadashi Yokoyama. The latter half of this book, alluding to his 

 series, is a collection of newspaper headlines from 1952 to 1956 in both languages, printed on newsprint.

On Kawara 1952-1956, Tokyo

David Zwirner is an art gallery with locations in New York, Los Angeles, London, Paris and Hong Kong. We present physical and online exhibitions, podcasts, books, and more.