Tamiko Nishimura began photographing in late-1960s Japan, within a generation whose history would be largely written through men. Darwin values her position as a woman moving independently through streets, trains, coastlines and peripheral Japan, building an archive across decades rather than pursuing recognition. Close to the Provoke moment yet outside its mythology, Nishimura reveals another history: quieter, itinerant, intimate, and only gradually brought into view through her books.
