Kazuko Miyamoto works across sculpture, installation, drawing, performance, and textile-based work. She studied at the Art Students League in New York from 1964 to 1968, and beginning in the late 1960s, worked closely with Sol LeWitt as his assistant while developing her own artistic practice. Miyamoto sustained a practice that combines conceptual rigor and formal experimentation. From the early 1970s, she developed wall-based spatial installations, culminating in her seminal string constructions series. Stretching cotton string between industrial nails, these works create geometric forms that expand across walls and extend into space. Informed by the ideas of Minimalism, Miyamoto’s practice moved beyond the movement’s industrial formal rigor, instilling her works with organic irregularity and ephemerality. Transforming line into volume, her installations explore the relationships between body, space, material, and labor. She was previously a member of the A.I.R. Gallery, the pioneering feminist artists’ cooperative in New York, and founded Gallery Onetwentyeight, a platform highlighting BIPOC (Black, Indigenous, and People of Color) and diasporic artists.
Miyamoto’s recent solo exhibitions took place at KW Institute of Contemporary Art (Berlin, 2025), Belvedere Museum (Vienna, 2024), Madre Museum (Naples, 2023), Japan Society (New York, 2022), and Japan Foundation (New Delhi, 2015). She took part in exhibitions at MUDAM Luxembourg (2026 & 2015), Espoo Museum of Modern Art (2025), National Museum of Modern Art, Kyoto (2025, 2024 & 2019), National Museum of Modern Art (Tokyo, 2024, 2019 and 1977), Okura Museum of Art (Tokyo, 2024 and 2023), Mori Art Museum (Tokyo, 2021), Art Gallery of New South Wales (Sydney, 2021), Met Breuer (New York, 2019), National Gallery Singapore (2018), The Drawing Center (New York, 2016), and Museum of Modern Art (New York, 1973), among others.
Miyamoto currently lives and works in New York, USA.
