ExhibitionsIsamu Noguchi: “I am not a designer”
Current Exhibition

Isamu Noguchi: “I am not a designer”

April 10 – August 2, 2026

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In a 1949 interview, sculptor Isamu Noguchi declared “I am not a designer.” Yet, in the forty years following this denial, he went on to realize some of the most innovative designs of the twentieth century, including architecture, furniture, lighting, stage sets, gardens, playgrounds, and plazas. Even when Noguchi or critics acknowledged these design projects, it was as separate from his celebrated sculptures.

This exhibition explores Noguchi’s expansive and career-spanning engagement with the space-shaping possibilities of design. Approaching his practice through a design framework offers an opportunity to consider the significance of collaboration and thinking across disciplines. A host of architects, clients, corporations, fabricators, and other creative practitioners contributed to almost all the projects featured here. The exhibition celebrates these individuals’ impact on Noguchi’s exploration of design as a means of shaping generous, inclusive space—a commitment that remains radical and relevant today.

The exhibition unfolds thematically across three sections that connect concepts, disciplines, scale, and materials. Each section includes models, prototypes, and plans that reveal process. Not all these projects were fully realized, but all were critical to Noguchi’s artistic evolution. Making Multiples explores Noguchi’s forays into industrial manufacturing and experiments with the possibilities of reproducibility. Elements of Architecture follows the expansion of Noguchi’s design thinking and his reimagination of architecture’s elemental principles. Shaping Spaces celebrates his commitment to utopian world-building and civic function in large-scale, outdoor projects.

Coffee Table (IN-50), designed 1944, this example made ca. 1947–1953

Perhaps no other single object has become more synonymous with Noguchi as a designer than the IN-50 Coffee Table. Unlike previous, bespoke experiments for private patrons, furniture manufacturer Herman Miller put this design into mass production, facilitating its rise to international acclaim and ubiquity. This particular IN-50 has an Atlanta connection: A local family acquired the table through Rich’s Department Store around 1953.

Designed by Isamu Noguchi (American, 1904–1988)
Manufactured by Herman Miller Furniture Company (Zeeland, Michigan, established 1923)
Coffee Table (IN-50), designed 1944, this example made ca. 1947–1953
Ebonized birch, glass, and aluminum
High Museum of Art, Atlanta, gift of Fredna and Ricardo Cottingham, 1998.34 a-b
© 2026 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York.

1998.34 A B , Noguchi, Coffee Table O4

Floating Lunar (Light Plaque), 1943–1944

In the 1940s, Noguchi’s decades-long pursuit of “light sculptures” resulted in a series of mixed-media bas-reliefs he called Lunars. Many of these make use of magnesite, a cementing material commonly used in construction. The artist-designer found magnesite’s cake batter–like consistency perfect for hiding the Lunars’ built-in light beneath undulating, biomorphic curves.

Made by Isamu Noguchi (American, 1904–1988)
Floating Lunar (Light Plaque), 1943–1944
Magnesite, paint, wood, electrical components, and replaced cotton thread
Baltimore Museum of Art, gift of Edward M. Benesch
© 2026 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York.

Xlnog014, Noguchi, Floating Lunar (light Plaque) O4

Akari (model 1A), designed 1951–1954, this example fabricated ca. 1954

The Akari represent the culmination of Noguchi’s career-spanning quest to more broadly share the delight he found in self-illuminated sculptures. At the suggestion of the mayor of Gifu, Japan, a capital of traditional mulberry paper lanterns (chōchin), Noguchi began designing his own variations on the form, preserving the traditional translucent mino washi paper shade and bamboo frame but introducing an electric bulb. He called these Akari, after the Japanese word conveying both illumination and weightlessness.

Designed by Isamu Noguchi (American, 1904–1988)
Fabricated by Ozeki & Co., Ltd. (Gifu, Japan, established 1891)
Akari (model 1A), designed 1951–1954, this example fabricated ca. 1954
Mulberry bark paper, bamboo, metal, and original electrical components
High Museum of Art, Atlanta, purchase with funds from the Decorative Arts Acquisition Endowment, 2024.176
© 2026 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York.

2024.176 Akari Lamp O3

Model for House for Liam O’Gallagher and Robert Rheem, Carmel, California [unrealized], 1955

“I think a lot of what we do as artists revolves around the furnishing of ideal situations that never come to be,” Noguchi reflected. “We are forever building this imaginary abode.” He received his only commission for such an “imaginary abode” from artists Liam O’Gallagher and Robert Rheem. With Japanese American architect Kazumi Adachi, he attempted “an arrangement of moods, a wide variety of sensory experiences. . . . It is not architecture in any conventional sense.” The model captures a sequence of pavilions around a central garden, complete with actual miniature stones.

Designed by Isamu Noguchi (American, 1904–1988)
with Kazumi Adachi (American, 1913–1992)
Model for House for Liam O’Gallagher and Robert Rheem, Carmel, California [unrealized], 1955
Plywood, paperboard, wood, paper, pencil, ink, paint, and stones
Collection of the Oakland Museum of California
© 2026 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York.

Collection Of The Oakland Museum Of California

Seraphic Dialogue, 1955

Noguchi imagined his design for Seraphic Dialogue—a meditation on the life of Joan of Arc choreographed by his longtime collaborator Martha Graham—as a stage-sized lighting environment. As he noted on one of the blueprints, “This set is only effective with light—moods to be varied by changing intensities between the various elements.” Throughout the 1950s, Noguchi frequently relied on Edison Price’s expertise as a lighting designer and manufacturer and on his expansive, well-equipped workshop.

Designed by Isamu Noguchi (American, 1904–1988)
Fabricated by Edison Price (American, 1918–1997)
Seraphic Dialogue, 1955
Brass rods and steel wire
Martha Graham Center of Contemporary Dance
© 2026 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York.

Xlnog049, Noguchi, Seraphic Dialogue O4

Model for Play Mountain [unrealized], 1933

Play Mountain—a radical monument to open-ended play and community the size of a New York City block—served as a north star for the following half century of Noguchi’s designs for play and social space. The idea emerged from his profound frustration with the limits of art to make meaningful impacts in the lives of those weathering the Great Depression. The original plaster model disappeared for many years and is now on view for the first time in nearly a century.

Made by Isamu Noguchi (American, 1904–1988)
Model for Play Mountain [unrealized], 1933
Plaster
High Museum of Art, Atlanta, purchase with funds from the Decorative Arts Acquisition Endowment, 2024.175
© 2026 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York.

2024.175 Play Mountain O4

Model for US Pavilion Expo ’70 [unrealized], 1968

This proposal for the US Pavilion at Expo ’70 in Osaka imagines a rocky lunar landscape transformed into a “Garden of the Moon” filled with climbable play equipment. Noguchi and his team took what they called a humanistic approach to the potential of technologies featured at Expo ’70. A massive balloon reminiscent of experimental NASA communication satellites is their symbolic nod to the possibilities of new global communication technologies.

Designed by Isamu Noguchi (American, 1904–1988)
with Pavilion Associates: Peter Floyd (American, 1922–2015), Shoji Sadao (American, 1927–2019), and John McHale (British, born Scotland, 1922–1978)
Model for US Pavilion Expo ’70 [unrealized], 1968
Plaster, wire, and paint
The Isamu Noguchi Foundation and Garden Museum, New York
© 2026 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York.

Xlnog067, Noguchi, U.s. Pavilion Expo '70 (garden Of The Moon) O4

Playscapes

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Playscapes was both a project of firsts and a long time coming when it opened in Piedmont Park in May 1976. It was Noguchi’s first playground in the United States, but he had been developing and refining several of its notable pieces of equipment—climbable cubes, elegantly asymmetric swings, and a swirling, columnar slide—for decades. The High Museum of Art worked in concert with the City of Atlanta Parks Department on this bicentennial gift for the city and its residents. Recently restored for its fiftieth anniversary, Playscapes continues to invite people of all ages to play and connect with one another.

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This exhibition is organized by the High Museum of Art, Atlanta.

Presenting Sponsor

Bank of America Logo

Major funding for this exhibition is provided by the Terra Foundation for American Art, the Henry Luce Foundation, and the Forward Arts Foundation.

Generous support is provided by the Graham Foundation for Advanced Studies in the Fine Arts.

Generous support for this publication is provided by the Wyeth Foundation for American Art.

Premier Exhibition Series Sponsor 

Premier Exhibition Series Supporters

Sarah and Jim Kennedy

Major Exhibition Series Supporter

The Fay S. and W. Barrett Howell Family Foundation

Major Exhibition Series Sponsor

Benefactor Exhibition Series Supporters 

Robin and Hilton Howell

Ambassador Exhibition Series Supporters

Sara and Paul Steinfeld 
Mrs. Harriet H. Warren 

Contributing Exhibition Series Supporters 

Mary and Neil Johnson
Mr. and Mrs. Baxter Jones
Megan and Garrett Langley
Margot and Danny McCaul
Wade A. Rakes II and Nicholas Miller
Louise Sams and Jerome Grilhot
Lisa Cannon Taylor and Chuck Taylor

Generous support is also provided by  

Alfred and Adele Davis Exhibition Endowment Fund
Anne Cox Chambers Exhibition Fund
Barbara Stewart Exhibition Fund
Dorothy Smith Hopkins Exhibition Endowment Fund
Eleanor McDonald Storza Exhibition Endowment Fund
The Fay and Barrett Howell Exhibition Fund
Forward Arts Foundation Exhibition Endowment Fund
Helen S. Lanier Endowment Fund
John H. and Wilhelmina D. Harland Exhibition Endowment Fund
Katherine Murphy Riley Special Exhibition Endowment Fund
Margaretta Taylor Exhibition Fund
RJR Nabisco Exhibition Endowment Fund