The Washington Post, September 17th, 1993
TO GRASP THE symbolic power of Natsuki Kurimoto's art you must not only dismiss the Western assumptions about lacquer - that it is essentially cool, averted, its scores of translucent layers suggesting a formal detachment from the observer - but understand that in working in such a traditionally charged medium, Kurimoto is reevaluating his own cultural assumptions. And for that reason, his art is a particularly apt choice to open the first full season of the small but elegant Sasakawa Peace Foundation's downtown gallery, which will be solely devoted to the exhibition of contemporary Japanese a...
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