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118 Waverly Place
New York 11, N. Y.
Dec. 17, 1951

Dear Gordon:

It was indeed happy news to hear that you and Carnegie plan to invite Japanese artists work to the International Exhibition of 1952. I realize how difficult it is to judge paintings from just photographs without seeing the actual work or to decide without having any background material on the artists. I wish I could have been of more help on that.

I did look through the photographs before I sent them to you and interestingly enough my preference very much coincided with yours. I was glad to see one woman included in the group whose work I also liked. Since you ask me for suggestions, I have four names to add for your consideration. They are highly regarded and the most respected artists in Japan and rank at the top:

Sakamoto Hanjiro
Ihara Usaburo (Chairman of J. A. A.)
Yasui Sotaro
Kojima Zenzaburo

I hope you will revaluate them with your other choices. Confidentially, I am embarrassed by the inclusion of Tatsuhiko Heima. This is the last name on your list, without a number and titled "Nude B". I know he is a student and do not feel that his work is as interesting as the photographs may lead you to believe. His photographs were slipped in by Okada, who also has no numbers on his photographs. Okada is in New York at present but is a recognized artist in Japan and a member of the Japanese Artists Equity Association. I asked him for photographs but not for any by Heima who is not recommended by the J. A. A. nor an artist of reputation.

I am notifying the Japanese Equity of your decision. I know how excited they will be about this invitation to participate in a world theatre. It will be of tremendous encouragement to them to find friendship among other nations and they will be grateful for the opportunity to be introduced to the American public. I am enclosing my letter to them leaving out, as you will notice, names and titles. I believe it will be far more meaningful and authoritative if you let them know your selection, when you have your final list.

Now as to the mechanics. I believe it will be necessary to get military government clearance. Upon inquiry from the Museum of Modern Art, I learned that the proper authority to approach is the Supreme Commander for the Allied Powers. (On the last page of this letter I shall give you all the names and addresses relative to the show.) Mr. Joseph Fretwell of the Reorientation Branch here in New York (this office will no longer function after December 31st but is being taken over by the State Department) said, in requesting for permission to bring Japanese work here to mention that it was upon the suggestion of the New York Field Office that you are writing. An air mail letter, according to Mr. Fretwell will bring a speedy reply.

I have also contacted the Mainichi Press with the hope of enlisting their aid. They control the largest newspaper in Japan and have a branch office in New York. They too are planning an International show to be held in Japan the next spring. I talked