Solo Exhibitions

Group Exhibitions

Public Collections

Flowerman Collection, Hiroshima, Japan
Hood Museum of Art, Hanover, USA
Japan Foundation, Tokyo, Japan
Modern Art Museum of Fort Worth, USA
The Museum of Contemporary Art, Los Angeles, USA
OKETA COLLECTION, Tokyo, Japan
Ryutaro Takahashi Collection, Tokyo, Japan
Saatchi Collection, London, UK
Taguchi Art Collection, Tokyo, Japan
UC Berkeley Art Museum and Pacific Film Archive, USA
Ulster Museum, National Museums Northern Ireland, Belfast, UK

Books

【Books】
・ Turning, Tokyo: Tomio Koyama Gallery, 2012.
Aya Takano, “Her Pictures and Words Are Not Sullied by Anything,” p. 66 Noriko Miyamura interview with Makiko Kudo, “I always paint the things I see in my head in my pictures.,” pp. 70–72.
Barry Schwabsky, “The Sum Total of Happiness,” pp. 139–41.
Midori Matsui, “The Dissolution of Color Field and Reconstruction of the World: Makiko Kudo’s Evolving Picture Plane,” pp. 144–46.

【Solo Exhibition Catalogues】
・ Like When We See a Flower and Realise It Was There All Along, The Hiratsuka Museum of Art, 2022.

【Group Exhibition Catalogues】
・artbook THE D.A.P. CATALOGUE Spring 2021, New York: Art Publishers, Inc., 2021.
・100X HANDPICKED, London: Saatchi Gallery and Christie’s, June 2018, p. 38, 39–41.
・“Art Basel Hong Kong,” Art Collectors in Asia, Asia edition vol. 11, Tokyo: Seikatsu no Tomo Co., 2018.
・ICONOCLASTS: Art Out of the Mainstream, London: Saatchi Gallery, 2017, pp. 32–43.
・Pretty Baby, Fort Worth: The Modern Art Museum of Fort Worth, 2017.
・QUEEN SIZE. Female Artists from the Olbricht Collection, Berlin: me Collectors Room Berlin, 2015, pp. 40–41.
・Body Language: Exhibition Guide, leaflet, London: Saatchi Gallery, November 2013.
・The New International, leaflet, Moscow: Garage Museum of Contemporary Art, August 2014.
・The Way of Painting, Tokyo: Tokyo Opera City Art Gallery, 2014, pp. 64–67, 167.
・ Body Language, London: Saatchi Gallery, 2013, p. 48, 49–57.
・ Kenjiro Hosaka, “Pathos and Weakness of Japanese Painting after 1984,” in Pathos and Small Narratives: Japanese Contemporary Art, Seoul: Gana Art Center, 2011, pp. 20–25 (illustrations), 79–86.
・ Makiko Kudo, press release, Copenhagen: Andersen’s Contemporary, 2010.
・ Margrit Brehm, “Japan Calling,” in Japan Pop, Helsinki: Helsinki City Art Museum, Tennis Palace, September 2009, p. 6 (illustration), 29–35.
・ Matrix/Berkeley: A Changing Exhibition of Contemporary Art, Berkeley: The University of California, Berkeley Art Museum and Pacific Film Archive, December 2009, p. 461.
・ Winter Garden: The Exploration of the Micropop Imagination in Contemporary Japanese Art, Tokyo: Bijutsu Shuppan-sha, 2009, pp. 5–27, 62–65.
・ Daiwa Radiator Factory Viewing Room vol. 03, Hiroshima: Daiwa Radiator Factory, 2007, pp. 6, 9, 13.
・ The Metropolitan Opera 2006–07 Season, leaflet, New York: The Metropolitan Opera, 2006, p. 6.
・ “Makiko Kudo, Frieze Art Fair Yearbook 2006–7,” Frieze Art Fair, October 12–15, 2006.
・ Motoaki Hori, “The Eternally Young – Artists’ Youth, or Art of the Young,” in Time of My Life: Art with Youthful Spirit, booklet, Tokyo: Tokyo Opera City Art Gallery, 2004, pp. 8–10.
・ VOCA 2005, Tokyo: The Ueno Royal Museum, 2005, pp. 32–33, 112.
・ Brian Calvin, Sophie von Hellermann, Makiko Kudo, Philippe Perrot, Mamoru Sagawa, publicity mailing, Los Angeles: Marc Foxx Gallery, 2004.
・ MATRIX 213: Some Forgotten Place, booklet, Berkeley: UC Berkeley Art Museum, 2004, pp. 6, 3–17, 18.

【Miscellaneous Published Writings】
・ Makiko Kudo, “From Empire of Nagai to Nagai-land (Tentative),” in Tomoko Nagai, Thousands of Finches, Tomoko Nagai / Floating Mountain, 2017, p. 67.