NowHere is a multidisciplinary hub for New York City–based creators whose work is informed by Japanese culture. We exist to help talent across all disciplines explore their maximum potential, providing them with the means to showcase their practice and expand their network.
Just like the artists we serve, we emigrated to New York because this city is endlessly inspiring. By facilitating new art from a Japanese perspective, we hope to offer inspiration back to New York in turn. Our mission is accomplished anew each time we are able to excite New York audiences with fresh energy and points of view.
We’re excited to announce that in 2026 we’re relocating to 40 Lispenard Street, Tribeca. This presentation marks NowHere’s first participation in the Brooklyn Fine Art Print Fair.
At the Brooklyn Fine Art Print Fair, NowHere presents a focused selection of Masaaki Sato’s (born 1941) landmark prints from the ’70s through the ’90s, highlighting a formative period in his career and his long-standing engagement with Pop Art and hyperrealism in New York.
Sato left Kofu, Yamanashi Prefecture, in 1967, traveling from Yokohama to London and then to New York to pursue his ambition of exhibiting alongside pop artists like Andy Warhol and Jasper Johns. After developing early conceptual foundations in London, he arrived in New York and made a striking debut with his Subway Series in 1970, which was featured on the front page of The New York Times Sunday edition. Critic John Canaday praised the work for its powerful illusionistic perspective.
During the ’80s, Sato developed his signature Newsstand Series,depicting New York newsstands through a distinctive hyperrealist style marked by bold outlines, altered magazine covers, and mirrored text. The series reflects the density, diversity, and visual overload of New York, while addressing the challenges of cultural translation between East and West. Art historian Edward Lucie-Smith later described these works as allegories of communication and artistic isolation.
Sato was represented for three decades by OK Harris Gallery under gallerist Ivan C. Karp, placing him in direct dialogue with the legacy of American Pop Art. His work has been widely exhibited and collected internationally, featured in ARTODAY (Phaidon, 1995), selected by The Boston Printmakers, and included in major museum collections. Today, Sato is recognized as a key figure bridging Japanese and American postwar visual culture.
peaking.jpg)
_nd.avif)
13A.jpg)
