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118 Waverly Place 
New York 11, N.Y.
Sept. 7, 1951 

Dear Mr. Ihara:

As you undoubtedly have heard, volunteer donations were made by Artists Equity Association members as a gesture of friendship to the artist of your organization. The Committee working on this project gave a great deal of thought as to the best utilization of these funds. It has been suggested that even though the sum isn't very much, it might be spent more beneficially if we sent the cash directly to you. We feel that your members will donate far more wisely than we as to the distribution of the money.

I will be going back to New York in a couple of weeks and expect to meet with the Committee then to expedite the matter as soon as possible.

There is another point of great interest I should like to discuss with you since I think you are the proper person to contact. It has been my life long desire to have Japanese artists work represented at the Carnegie International Exhibition, which has been held in this country since around 1900. I have negotiated in the past with the former director of the Institute but somehow the plan never materialized.

Recently, a new director was appointed whom I know very well. I had the opportunity to speak to him only a few days ago here in Woodstock. Although he is not familiar with the work of Japanese artists, he expressed an interest in them. He felt that it would be exciting not only to have Japan included in the forthcoming International but several other Asian countries that had not been represented before.

You may perhaps know the procedure usually followed in organizing these international exhibitions. However, there are a few points I should like to state. It is an all invited show, not a juried exhibition. Only paintings are shown, no sculpture or graphic arts.

Since we have not seen the work of Japanese artists for many years and since representation in the exhibition depends entirely on the merit of the work, I suggested contacting you so that you could send me photographs of the present day paintings of Japanese artists. I can then show the photographs to the director.

Only oil paintings are acceptable and so far in the past around 13 countries have been represented each time. There are usually about 300 to 350 works exhibited but the number from each country is proportionately small, a large percentage devoted to the American section.

Of course I will do everything I can but it largely depends on the judgment of the director and his trustees and how favorably it compares with the work of other nations to merit the inclusion. Also, the director usually has the opportunity of seeing the actual work, by visiting the artist or his gallery to make his choice for the show. Another consideration, is the distance and budget. However, I feel hopeful, for the response was most enthusiastic.