b'with historical events and examples of his printmaking plates and tools. A rich slate of programs, coordinated by museum educators, accompanied the exhibition, including gallery talks for Smith faculty, students and K12 educators. Hands-on programs included printmaking during Free Second Friday, and a Smith student-only Defiant Poetry Night at which collab-orative and personal poetry was created and shared through reading or posting on the Talk Back board. Aprile Gallant brought together a panel ofexperts on Makuuchis work and contemporaryMunio Makuuchi. American, 19342000.A/A Seed Storage and Japanese American art for Reclaiming MunioIzumo Tower, ca. 1998. Drypoint on paper. Collection of Jamie andMakuuchi, An American Artist. The panel discussion Constance Makuuchi. The Estate of Munio Makuuchi included Makuuchis close friend, printer and collector Andrew Balkin, AGB Graphics Workshop, Wisconsin; A/A Seed Storage and Izumo Tower (ca. 1998), Margo Machida, professor emerita of art history and Makuuchi merges the Izumo Taisha (a shrine in Japan)Asian American studies at the University of Connecti-with the guard towers at Minidoka. A long chute fromcut; and Professor Cheung. the tower extends into the forehead of a long-haired In conjunction with Defiant Vision, The Boutelle- figure in the lower right, implying that memories Day Poetry Center at Smith invited Lee Ann Roripaugh of incarceration have been planted in the minds ofto campus as a visiting poet. Roripaugh, who has writ-former detainees in a way that continues to changeten on Japanese internment, the Fukushima disaster them. A related poem titled Ancient Seed Storageand the semiotics of language, received the Associa-Shed asks the question: tion for Asian American Studies Book Award in poetry/prose, and is the poet laureate of South Dakota.Were we but hybrid The exhibition was accompanied by a 160-pageseed, salted away illustrated catalogue, the first published scholarship onto flourish the artist.It includes essays by Gallant and Cheung, an when time was ripe? accounting of Makuuchis place among 20th-century Japanese American artists by Machida and a chronology The installation included three sections with sound of the artists life and times by Oliver Haug 20.recordings of Makuuchis poetry alongside prints deal-ing with similar topics. These audio stations featured The exhibition and catalogue were supported by grantsthe artist reading poems related to his incarcerationfrom the U.S. Department of the Interior, National Parkexperiences; Floyd Cheung reading poems related to Service, Japanese American Confinement Sites grantMakuuchis use of fish imagery and its relation to hisprogram; the Wyeth Foundation for American Art; Tryon native Seattle; and STRIDE scholar Katarina Yuan 21Associates; the Maxine Weil Kunstadter, class of 1924, Fund; reading poems related to nuclear power and the bomb. the Edith Stenhouse Bingham, class of 1955, Art Museum In-gallery interpretive materials included aFund; the Judith Plesser Targan, class of 1953, Art Museum slideshow of images from the artists life in contextFund; and the SCMA Publications and Research Fund.connecting people to arttop:At a free public panel discussion, Margo Machida, Floyd Cheung, Andrew Balkin and Aprile Gallant explore the life and work of Munio Makuuchi center:Aprile Gallant leads a gallery conversation in Defiant Vision below:Educator Gina Hall, left, with Aprile Gallant, right, guiding a gallery tour and discussion with the museums Teachers Advisory Group24'