Artsy has published a survey of ten postwar Japanese women artists it argues deserve far wider recognition, written by Yuki Sumner. The guide opens with Taeko Tomiyama, the Kobe-born painter and printmaker who died in 2021 at the age of 100, and whose work treated art as an instrument of social transformation rather than a private pursuit. Tomiyama spent her childhood in Japanese-occupied Manchuria before returning to Japan in the war's final years. Her early lithographs recorded the lives of unemployed coal miners in 1950s Kyushu during Japan's energy revolution, and she later aligned herself with the Japan-Korea solidarity movement of the 1970s and 1980s, campaigning on behalf of Korean political prisoners. She also produced a series of lithographs protesting the violent suppression of Gwangju's pro-democracy movement in May 1980, folding contemporary political violence into her practice. The centerpiece of the profile is Tomiyama's 1986 painting The Night of the Festival of Galungan, part of her Memory of the Sea series and currently featured in an exhibition at Mudam. The dark, densely detailed oil painting confronts the wartime enslavement of Korean comfort women by the Japanese military, picturing a throng of skeletons and masked figures looming over terrified soldiers — a direct engagement with a history that Japan has often preferred to leave unexamined. The guide arrives amid a broader wave of reassessment, as museums and markets revisit overlooked women of the postwar generation. From Lee Krasner's current survey at the Met to the market's embrace of once-neglected figures, the canon is visibly expanding. Tomiyama's inclusion makes the case that the story of Japanese postwar art still has significant room to grow, and that some of its most urgent chapters were written by women working far from the mainstream.