Future Fair | Booth U10 (May 13 - 16, 2026)

MARINA BERIO, MINÉ OKUBO, ASAKO TABATA

Wednesday, May 13: VIP Preview 

Thursday - Saturday, May 14-16, 2026: Public days

Chelsea Industrial

535 W 28th St, New York, NY, 10001

Miné Okubo, Untitled (Girl with Flower), 1973, 54 x 44 in (137.16 x 111.76 cm)

SEIZAN Gallery is pleased to announce its participation in Future Fair, taking place May 13 – May 16, 2026, at Chelsea Industrial. The gallery will present works by Marina Berio, Miné Okubo and Asako Tabata.

Marina Berio, Through and Not 71, 2012, Charcoal on paper, 40 x 60 in (101.6 x 152.4 cm), 43 x 62.9 x 1.5 in (109.2 x 159.8 x 3.8 cm) Framed

Marina Berio (b. 1966, Boston, MA)

Berio is an interdisciplinary artist whose practice spans photography and drawing, engaging material processes to examine memory, absence, and the construction of historical narratives. Working with archival fragments, vernacular imagery, and material investigations, she creates layered compositions that blur the boundaries between personal and collective histories.

Her ongoing project Family Matter depicts her son and his father, produced using gum bichromate, into which she incorporates unconventional materials as pigments, in this case her own blood. The grainy, brownish-red images hover between documentation and reverie, revealing close-up fragments of intertwined limbs and bodies against plain backgrounds. Although the artist-mother is absent from the frame, she is insistently present, both through her bodily material embedded in the image and through her position behind the camera Berio’s work has been presented in international exhibitions, including a recent historical survey on materiality in photography at the Bibliothèque Nationale de France, as well as solo exhibitions in Paris, Buenos Aires, New York, and Hamburg.

Miné Okubo, Untitled (Flower in Vase), 1974, 32 x 26 in (81.3 x 66 cm)

Miné Okubo (b. 1912, Riverside, CA – d. 2001, New York, NY)

Okubo was a pioneering Nisei (second-generation Japanese American) artist whose work as an illustrator and painter occupies a vital place in the history of American modernism. Associated with a generation of Japanese American artists that includes Chiura Obata and Matsusaburo Hibi, she developed a distinctive visual language shaped by both modernist aesthetics and lived experience. Her oeuvre has undergone significant reappraisal in recent years, with renewed institutional attention highlighting its historical and cultural importance. A major traveling exhibition, Pictures of Belonging: Miki Hayakawa, Hisako Hibi, and Miné Okubo, curated by Dr. ShiPu Wang, has brought her work to new audiences and is currently on view at the Monterey Museum of Art, with subsequent presentations scheduled at the Japanese American National Museum. Okubo’s works are held in prominent public collections, including the Los Angeles County Museum of Art, the Smithsonian American Art Museum, the Japanese American National Museum, the Oakland Museum of California, and the Center for Social Justice & Civil Liberties, among others.

Asako Tabata, Ceiling , 2026, Oil on canvas, 25.7 x 31.6 in (65.2 x 80.3 cm)

Asako Tabata (b. 1972, Kanagawa, Japan)

Tabata is a painter whose work emerges from a deeply personal and sustained engagement with domestic life, memory, and quiet observation. After studying painting at Tama Art University, she stepped away from the conventional art world trajectory, continuing to make work while raising a family and maintaining a largely private practice. For many years, she exhibited only occasionally in small galleries in Tokyo, developing her visual language outside of institutional frameworks. Her work gained wider recognition with her first solo exhibition in the United States, Cutting a Loquat Tree, presented at SEIZAN Gallery New York in 2022. Tabata’s paintings reflect an intimate attentiveness to everyday experience, often transforming modest, familiar subjects into contemplative and resonant images. Her work is now included in prominent private collections in both the United States and Japan, marking a growing international appreciation of her practice.

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