My book examines new art that has emerged from a series of crises, often following from the global dominance of Western culture-new art that seeks to develop alternative models based on local identity. After situating it within current scholarship on the globalization of art and reviewing postwar Japanese art until 1989, the following three chapters will scrutinize three crucial moments in recent Japanese history: the impact of the initial globalization of art and the peak of the economic bubble circa 1989; the Tokyo subway sarin attack in 1995; and the shift of attention to the provinces after the first Echigo-Tsumari triennial in 2000. The method of this study will be reflexive ethnography, which enables me to illustrate how the new arts in Japan are shaped by the predicaments of a globalized contemporary society, offering innovative solutions for a world increasingly vulnerable from an expanded economy and expended natural resources.