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After World War II, there came a point when Japan—exhausted by decades of nationalism and long-cloistered by its leaders for fear of cultural dilution—felt a powerful hunger for outside ideas. The artist and landscape architect Isamu Noguchi, the son of a Japanese father and white American mother, was uniquely positioned to introduce ideas that were familiar enough to be accessible, but exotic enough to feel progressive. Growing up in Japan, he was considered American; once he moved back to the

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This story is from Kinfolk Issue Thirty-Two

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