●EDUCATION

Hiroko holds an MFA degree in Interdisciplinary Studies from Tufts University (U.S.), in affiliation with the School of the Museum of Fine Arts, with a special focus on Performance Art and Social Practice (2001) and a BFA degree in Sculpture from Boston University (1999).

●SELECTED PROFESSIONAL EXPERIENCES 

NPO inVisible (Tokyo, Japan)
Co-Founder, Creative Director (July 2015–March 2024), Board Member (April 2024–)
inVisible develops art and creative placemaking projects in Japan, including building art-centered alternative schools, organizing community development projects in urban and rural areas, and planning art and cultural events with partners such as arts institutions, educational boards, and the private sector.
Key responsibilities: Conceptualized and developed innovative projects; Provided artistic and strategic direction; Designed and implemented on-the-ground programs; Planned and directed art and cultural events; Fostered community engagement through creative placemaking.

Creative Ecology Partners LLC (Oakland, CA, U.S.; Tokyo, Japan)
Co-Principal (January 2011–2017)
Creative Ecology Partners was a platform to collaboratively develop projects, experiments, and methodologies that better and introduce new ways for community development and planning and Machizukuri. Through our focus on people- development (Hitozukuri), our main goal was to develop a healthy social and creative ecological system without the boundaries among the different disciplines.

Mori Art Museum (Tokyo, Japan)
Consultant, Project Coordinator (2014–2015)
During my tenure at MAM, My responsibilities included coordinating “Living Room Project” in part of “Lee Mingwei and His Relations”; consulting on the audience and community engagement strategies and to reframe and update the naming of its department to be more relevant to the international platform for its Education/Public Program initiatives. 

Aichi Triennale 2013 (Nagoya, Japan)
Community Designer, Educator (June 2012–November 2013)
Aichi Triennale (AT) was a community-friendly international arts festival and a unique outlet of art that attracted both local and international attention. While reflecting on arts in the wake of the 2011 East Japan Earthquake, the AT2013 with its theme “Awakening – Where Are We Standing? – Earth, Memory and Resurrection” brought together from within and outside Japan cutting-edge contemporary arts, performing arts including dance and theater, and opera production which manifest and resonate with the socio-political reverberations occurring in various areas of the world. 
Key responsibilities: Led Education and Community Engagement; Oversaw all AT-related program development including public programs for all ages; the Kids Triennale (attracted over 60000) program that offers a variety of workshops ; and educational and public engagement efforts including volunteer training and teacher's training workshops.

Social Creative Platform for Opportunity: WAWA Project (Tokyo, Japan)
Director of Community Design (May 2011–December 2011)
WAWA Project aimed to "connect" people in respective areas of Tohoku, who initiated activities fostering local regeneration with those who wished to support such activities. This project engaged closely with activists in affected communities, maintaining a base for their activities, while transmitting information about their endeavors through online and offline publications. The name of this project came from our commitment to focus on and visualize the individual person working in an effort for recovery. By saying WAWA, this translates as "I am" conveying our wish to activate one person at a time. Collectively individuals with much competence become "we," generating greater power to move forward. As the name, Social Creative Platform for Opportunity, states, we want to multiply opportunities that boost the sustainable human energy to rebuild these affected areas. 
Key responsibilities: Designed the creative industries strategy to support grassroots reconstruction efforts. 

DC Chinatown Cultural Development Strategy (District of Columbia, U.S.)
Cultural Development Consultant (2008–2009)
Chinatown Cultural Development Strategy was developed for the Government of the District of Columbia, Office of Contracting and Procurement, on behalf of The Office of Planning (OP), in collaboration with the Office of Asian and Pacific Islander Affairs (OAPIA). 
Key responsibilities: Provided technical expertise and assistance as part of the creation of the Chinatown Cultural Development Strategy (CCDS), working collectively with an experienced and creative Planning, Economic Development and Marketing team. 

Museum of Contemporary Art, Tokyo (Tokyo, Japan)
Lead Workshop Artist and Facilitator (Summer 2009) 
Three-day intensive summer workshop was offered to 14 participants (8-11 years old) and 14 college students, titled “Happenings at the Museum!?: How to become an adult Well with art.” 
Key responsibilities: Conceptualized and led the workshop; Engaged both children and college students in creative activities; Facilitated art-based learning and personal development.

Museum of Fine Arts, Boston (Boston, MA, U.S.)
Teen Programs Manager (July 2006–November 2009) 
Teen Arts Council (TAC) is a leadership development program using an apprenticeship structure and functioning as a creative laboratory for a diverse collective of teenagers whose goal is to connect the MFA with Greater Boston’s teens, families and communities through their intellectual contribution as internal consultants who assess operations and exhibits, provide recommendations to administrative and curatorial staff, and design and implement demonstration projects for specific departments or exhibits.
Key responsibilities: Directed and Oversaw the program; Designed and implemented on-the-ground programs; Engaged teens in leadership and creative projects; Facilitated collaboration between teens and museum staff; Evaluated program effectiveness and made improvements.

List Visual Arts Center, Massachusetts Institute of Technology (Cambridge, MA, U.S.) 
Education/Outreach Coordinator, MIT Freshman Advisor, Senior thesis Advisor (August 2001–August 2006) 
The List Visual Arts Center (LVAC) is a leading contemporary art venue with an international reputation. As Education and Outreach Coordinator, responsibilities included all facets of education and outreach for public programming to complement an extensive array of exhibitions, publications, percent-for-art program, and collections.
Key responsibilities: Planned, coordinated, and led public and educational programs; Organized films, symposia, lectures, and gallery tours; Conducted tours of the art on campus; Advised MIT freshmen and senior thesis students; Facilitated engagement between the public and contemporary art.

Institute for Art and Civic Engagement, School of Museum of Fine Arts (Boston, MA, U.S.)
Visiting Faculty (September 2005–May 2006) 
The core class of the Institute was “Public Art-Public Action,” that provided students with the background knowledge, experience and conceptual framework for creating meaningful public and community-based art as both a form of and result of public action. This course taught social and cultural responsibilities as an artist and how to use art as a way to engage and talk about community. The class stressed the idea of collaboration across generations and cultures through art practices in all media, including installation, painting, video, photography, and performance art. url: http://animatingdemocracy.org/project/institute-art-and-civic-engagement
Key responsibilities: Planned and developed the course curriculum; Taught concepts of social and cultural responsibility in art; Guided students in creating community-based art projects; Fostered collaboration across diverse groups through art; Evaluated and provided feedback on student projects.

Museum of Fine Arts, Boston (Boston, MA, U.S.)
Program Director (May 2005–August 2006) 
Youth-Art-in-Action, a national Coming Up Taller Award-winning program, was a collaborative community arts program where urban youth (ages 14-19) partnered with college students from the School of the Museum of Fine Arts. Participants developed arts, humanities, leadership, and community building skills. The program encouraged their creativity in art and potential for empathy, supporting them to create their own voices and visions with their communities, for real social action and change.
Key responsibilities: Directed and oversaw the program’s operations; Developed and implemented program curriculum; Educated and Mentored participants in arts and leadership skills.

Institute of Contemporary Art (ICA), Boston (Boston, MA, U.S.) 
Artist/Co-Educator (July 2002–August 2002) 
Summer Art! organized by ICA I was a multidisciplinary art program that offered young people (ages 11-14), an in-depth and exciting experience of learning about community-based and public art, while creating and presenting their own original artwork at the public event entitled “Bridge.” 
Key responsibilities: Designed, planned and developed the program. Facilitated the workshop. 

Boston Public Library Foundation (Boston, MA, U.S.)
Project Developer and Collaborator (January 2001–June 2001) 
“My Community, My Boston,” was a series of 10 workshops for Boston urban youth (ages 5-14) to create works to be used as citywide public billboards and in a published book of youth artwork, working with a lead artist Mark Cooper. 
Key responsibilities: Designed and conducted the workshops; Supported the overall project effort. 

Vietnamese American Civic Association (Dorchester, MA, U.S.) 
Collaborator and Project Facilitator (April 2001–June 2001) 
Collaborated in a study to assess community health needs related to HIV/AIDS among the Vietnamese youth (age 15-18) in Dorchester, MA. 
Key responsibilities: Led workshops and organized a youth-led presentation and performance to teach the community about HIV/AIDS.

●SOCIAL PRACTICE: COLLABORATIVE PROJECTS

Kukami Matsuri (九鬼祭)
Dorogawa Hot Spring Village (Dorogawa, Tenkawa Village, Nara Prefecture, Japan)
Artist, Community Organizer (2022–2023)
Kukami Matsuri (Nine Oni Festival) was a self-organized, community-based art festival involving nine artists and the local residents along with the world-renowned poet Tanikawa Shuntaro. The festival aimed to establish a new tradition and preserve Dorogawa's cultural heritage, and boost tourism. The project sought to leave a lasting legacy while celebrating the unique spirit of Dorogawa. 
Key Responsibilities: Developed the conceptual framework for a community collaborative art festival; Led the project execution; Created artworks as part of the project.
Supported by: Tanikawa Shuntaro, Okuyamato Gastronomy Tourism in Dorogawa, Dorogawa Spa Tourism Bureau

Mindscapes (マインドスケープス)
Wellcome Trust (London, UK)
Artistic Director (2021–May 2023)
“Mindscapes” was an international cultural program, aimed to fundamentally rethink our understanding, approach, and discussions surrounding mental health - one of the three health challenges identified by Wellcome - through artistic and cultural perspectives and practices. Developed in collaboration with four cities worldwide―New York (USA), Bengaluru (India), Berlin (Germany), and Tokyo (Japan)―the initiative sought to foster innovative perspectives and practices. Developed for NPO inVisible.
Key Responsibilities: Orchestrated and Directed the Mindscapes Tokyo; Led concept development, strategic planning, and project direction for a community engagement-focused project. Conducted workshops with community stakeholders and project participants to generate ideas, foster collaboration, and achieve project objectives.

Tsumugu Project (つむぐプロジェクト)
Mori Building Town Management, Mori Art Museum (Tokyo, Japan)
Project Director (2018–March 2024)
“Tsumugu Project”  was an initiative in art and community engagement, founded on the collaborative efforts of a diverse range of individuals, spanning ages from 6 to 90, all deeply rooted in the rich history of Roppongi's urban development. From native inhabitants to residents and workers, each participant played a vital role, joining forces with artists to shape a dynamic, year-round endeavor. Developed for NPO inVisible.  
Key Responsibilities: Led concept development, Provided community engagement and strategic planning, and project direction; Conducted workshops with community stakeholders and project participants to generate ideas, foster collaboration, and achieve project objectives.

Professionals in School Project (PinS Project)
Tomioka Elementary and Middle Schools, Town of Tomioka, Board of Education (Tomioka, Fukushima, Japan)
Project Director (2018-2023), Chairperson: Tomioka Town Education Promotion Plan Review Committee (2017), Advisor: Study of Creativity Summit of Hometown (2015–2017)
The PinS Project invites professionals from diverse creative fields―such as artists, architects, and musicians―to work at the school campus and act as 'transfer students.' It aims to broaden the concept of education and provide students with opportunities to interact with professionals and adult figures from outside their small community. This project enriches the educational environment where children and teachers immerse themselves informally in real-world creative and learning experiences. The project was launched in April 2018, following a 7-year closure due to the Fukushima nuclear power plant accident. Developed for NPO inVisible.
Key Responsibilities: Conceptualized and directed the PinS Project; Managed project logistics and resources.

Tokyo Garage (Tokyo, Japan) 
Co-Founder, Art&Creative Advisor (2017–current)
Tokyo Garage is a volunteer-run initiative that opens up a private garage space in Tokyo for local kids, serving as a creative hub and reclaiming the nostalgic backstreet/alley culture that was once prevalent in Tokyo’s urban landscapes. Since 2019, the program includes "Yoru no Gakkou" (Night School), offering workshops and activities designed around the theme of "Yoru" (night=夜, to come by=寄る, to relate=因る), primarily aimed at teenagers.
Key Responsibilities: Designed the framework of its initiative; Provided art & creative approach to program development. 

Tenshodo Project
NPO Minamirai Project (Niigata, Japan)
Artist, Project Facilitator (2016–2018)
The Tenshodo Project was a community development project, advocating for and creating a space for healthy living for aging communities, while creatively revitalizing the Shirone District in the Minami Ward of Niigata City through the integration of art and wellness. The project began with the renovation of an old department store named Tenshodo, which played a significant role in local culture. It included efforts to establish a community center, especially for elders, create an archival resource space, and develop an indoor playground using upcycled objects from the store. The project was an extension of an initial one-year program in 2016 designed to train community organizers. Supported by: Fukutake Foundation (2016-2017), Water and Earth Art Festival 2018, Tomomi Honma.
Key Responsibilities: Co-planned and facilitated the establishment of a school for community organizer training (2016); Co-developed a plan to repurpose and renovate Tenshodo into a community space focused on regional health issues; Collaborated on the implementation of community engagement and art initiatives.

Relight Project/Committee
Arts Council Tokyo (Tokyo, Japan)
Creative Director, Facilitator (2016–2018)
“Relight Project” was an socially engaged project that functioned as a platform to generate dialogue among people from different walks of life, to figure out ways to, literally or symbolically, re-light the artwork “Counter Void” by artist Tatsuo Miyajima, situated in Roppongi. This artwork had been deactivated in response to the Fukushima Nuclear Power disaster in 2011. As part of the project, a citizen’s university called the Relight Committee was established to cultivate individuals termed “Social Sculptors,” integral to the project’s success. Developed for NPO inVisible. Supported by: Arts Council Tokyo/Organized by: inVisible.
Key Responsibilities: Developed the project; Directed and Strategized the direction of the Relight Project and its community engagement plan; Developed the structure and contents and Facilitated the Relight Committee.

Observatory Oakland
Data Center  (Oakland, CA, USA)
Artist (2011–2015)
This multifaceted social intervention and mapping project documented the lives of residents in the city of Oakland, CA. The creative asset mapping used for this project was informed from Kougengaku (Modernology), the study of modern social phenomena, and Fluxus-inspired instruction works and performance art. Supported by: the Creative Work Fund of The Columbia Foundation, Evelyn and Walter Haas, Jr. Fund, Miriam and Peter Haas Fund, and Walter and Elise Haas Fund.

Chinatown™: Chinatown Orange 
InFlux: Future of Landscape, Asian Arts Initiative; Philadelphia Community Development Corporation (Philadelphia, PA, U.S.)
Artist, Cultural Consultant (2007–2010)
“Chinatown Orange Project,” was a semi-permanent billboard project engaging residents, business and organizations in Philadelphia’s Chinatown to collectively share their wish for completion of the city’s first Chinatown Community Center, which had been promised for many years. The project began with the concept that "Chinatown™: Chinatown Orange" treats "Chinatown" as a "multiple" ―a diverse community facing common circumstances, threats, and opportunities similar to many Chinatowns across the U.S. As Chinatowns nationwide confront pressures of gentrification, institutional growth, and infrastructure expansion, this project questioned their underlying causes while celebrating the unique social, cultural, and economic experiences that define them through art. Supported by: National Performance Network.

The National Bitter Melon Council (苦瓜推進協議会)
Oakland, CA, Boston, MA (U.S.); Tokyo Japan
Co-Founder, Artist  (2004–2024)
The “National Bitter Melon Council (NBMC)” is a project framed as a produce-promotional board with the motto: "Better Living through Bitter Melon." It is devoted to cultivating a vibrant, diverse community through the promotion and distribution of this unfamiliar bitter melon. The project asks, “What is the taste and sentiment of bitterness?” Using the concept of bitterness as both a flavor and an emotion, the NBMC instigates situations that create an alternative basis for community. Supported by: Artadia: Art and Dialogue and LEF Foundation 

Selected Exhibitions:
・“Invisible Playcity,” Roppongi Art Night 2018, Tokyo (2018)
・“The Way things go: Special Curatorial Project With Rirkrit Tiravanija,” Yerba Buena Center for the Arts, San Francisco, CA (2015)
・“Feast: Radical Hospitality in Contemporary Art,” Smart Museum of Art, Chicago, IL (February 16–June 10, 2012); Blaffer Art Museum, University of Houston, Houston, TX (September 7–December 7, 2013); SITE Santa Fe, New Mexico (February 1–May 17, 2014); Gund Gallery, Kenyon College, Gambier, OH (July 25–November 30, 2014); Weisman Art Museum, University of Minnesota (January 31–May 10, 2015)
・"Untitled." A commissioned project, AKA Gallery, Saskatoon, SK, Canada (2011)
・“A Sensory Feast,” SOMArts Cultural Center & Kearny Street Workshop, San Francisco, CA (2010)
・“Promiscuous Production: Breeding is Bittersweet,” Los Angeles County Museum of Art, CA (2010)
・"A Salt Apology," The Gathers, Yerba Buena Center for the Arts, San Francisco, CA (2008)
・"Bitter Barter" and "NBMC office," Artadia Award Exhibition, Boston Center for the Arts, Boston, MA (2007)
・“Better Living through Bitterness," The West Front, Vancouver, BC (2007)
・"Bitter Melon Aside/Inside," Provincetown Art Association and Museum, Provincetown, Cape Cod (2006)
・“Beantown Remix: Individual Artist Preconference,” Grantmakers in the Arts Conference sponsored by LINC, Provincetown, Cape Cod (2006, Commissioned Performance)
・“Goya Honoring Day: The National Bitter Melon Council Annual Meeting” in collaboration with Spurse, May 7, 2006, Cambridge, MA (sponsored by Cambridge Arts Council)

Sifting the Inner Belt 
Boston Center for the Arts; Berkeley Street Community Garden (Boston, MA, USA)
Lead Artist (2003–2004)
Sifting the Inner Belt was a one-year project that brought together artists, activists, and community residents to closely observe and examine―i.e., “sift”―Boston’s historic South End neighborhood, creating emotional, conceptual, and physical bridges between two historically and culturally significant sites. The final presentation at both locations included a series of performance intervention events, site-specific installations, video projections, soundscapes, photography, written documentation, and displays of final and in-progress research. Supported by: LEF Foundation/media sponsor Weekly Dig. 

Treasure Hill Garden Portrait Studio Project
Treasurehill Village (Taipei, Taiwan) 
Lead Artist, Cultural Consultant (2002–2003)
The Studio was part of the Global Activists Participation Project organized by the Graduate Institute of Building and Planning at National Taiwan University and the Organization of Urban Re’s (OURs), designed to expand the stakeholder base for community gardening as one of the key strategies in a comprehensive neighborhood preservation initiative. The Studio employed the process of taking formal portraits of each household as a foundation of common experience among all residents, gardeners and non-gardeners alike.  Supported by: OURs, National Taiwan University, Cultural Affairs of City of Taipei (Taipei, Taiwan).

The New Modern Theater Project (Boston, MA, USA)
Artist and Educator (October 2000–August 2001) 
The New Morden Theater Project was a year-long multidisciplinary public art project. Supporting the lead artist Jerry Beck, I was part of coordinating and leading youth workshops. The project intended to create a physical and cultural redevelopment link between Boston's Downtown and Chinatown communities. Funded by: the Visible Republic Program of the New England Foundation for the Arts.

●SELECTED PERFORMANCE ART WORKS

Hiroko creates artworks, built on the legacy of Fluxus-inspired instructional and performance art (which she is deeply influence by art and presented internationally including in festivals and exhibitions in the United States, Chile, Colombia, Japan and other locations.

Details are available upon request or visit the website at kikuchihiroko.com.

●SELECTED SPEAKING AND TEACHING ENGAGEMENT 

・Rikkyo University, College of Community and Human Services/College of Sports and Wellness, Saitama, Japan (2011–Current)
・Salzburg Global Seminar: Young Cultural Innovators program, Salzburg, Austria (2017–2020)
・Musashino Art University, Department of Arts Policy and Management, Koganei, Japan (2015–2020)
・Advanced Academic Agency: The Graduate School of Project Design, Tokyo, Japan (2022)
・Massachusetts College of Art and Design, Arts Education, Boston, MA USA; Graduate School of Fine Arts Tokyo University of the Arts Tokyo, Global Art Practice (2021) 
・Boston University, Asian Women Leaders Forum, Boston MA (2016)
・Keio University, Department of Sociology Tokyo, Japan; University of California, Monterey, CA, USA  (2014)
・University of California, Berkeley, Berkeley, CA, USA; California College of the Arts, San Francisco, CA, USA (2011)
・Aoyama Gakuin University, Department of Creative and Cultural Study, Tokyo, Japan; Kyoto University of Art and Design, Kyoto, Japan; Art Institute of Boston, Boston, MA, USA (2009)
・Harvard University, Social Epidemiology department in the School of Public Health, Cambridge, MA, USA; School of the Museum of Fine Arts, Boston, Boston, MA, USA; Lesley University, Cambridge, MA, USA (2008)
・Tufts University, Women’s Studies Program,, Medford, MA, USA; University of California, Santa Cruz, Santa Cruz, CA, USA; George Mason University, Initiatives in Educational Transformation program in the College of Education and Human Development, Arlington, VA, USA; Maine College of Art, Portland, ME, USA; Spalding University, Louisville, KY, USA (2007)
・Cornell University, Ithaca, NY, USA; Endicott College, Beverly, MA, USA; University of Northern Iowa, Department of History of Consciousness, Iowa, USA (2006)
・Massachusetts Institute of Technology, Cambridge, MA, USA (2003-2006)

●SELECTED CIVIC DUTIES 

Japan:
・Committee Member to Develop a Long-Term Comprehensive City Planning, Tachikawa, Tokyo (2018–2019)
・Chair of the Committee to Develop an Action Plan for a New Public School in Tomioka, Fukushima, Town of Tomioka, Board of Education (2017–2018)
・Board of Directors, World In Asia, Tokyo (2017–2019)
・Board of Directors, Arts and Society Research Center, Tokyo (2013–2017)

USA:
・Exhibition and Program Advisory Board, Museum of Children’s Art, Oakland, CA (2009–2014)
・East Bay Regional Coordinator, Fundred Project and Operation Paydirt by artist Mel Chin, New Orleans, LA Planning
・Committee, Human Rights Leadership Forum 2010, Society in Sports, Northeastern University, Boston, MA (2007–2011)
・Panelist, “From Activist Art to Cultural Organizing”, Intersection V: Creative Uprising(s), New World Theater, Amherst, MA (2007–2011)
・Committee Member, Multicultural Audience Development, Museum of Fine Arts, Boston, MA (2007)
・Advisory Committee, Regional Youth Media Arts Education Consortium, Boston, MA (2007)
・Advisory Board Member, Design Studio for Social Intervention, Boston, MA (2007)
・Review Panelist, Leeway Foundation: Funding women and Trans artists creating Social Change, Philadelphia, PA (2007)
・Guest Curator/Organizer, Stencils: Public Space and Social Intervention, New England School of Arts and Design, Suffolk University, Boston, MA (2007)
・Advisory Member, Boston Public School System Middle School Taskforce, Boston, MA (2006–2009)
・Board Member, Artist Foundation, Boston, MA (2006–2009)
・Advisory Board Member, Japanese Women's Future Leadership Program, Japan and USA (2004–2009)
・Exhibition Review Committee, Art Interactive, Cambridge, MA (2004–2007)
・Steering Committee, Arts & Business Council of Greater Boston, MA (2002–2009)
・Selection Committee, MIT Ida Ely Rubin Artist-in-Residence Awards, Cambridge, MA (2006)
・Participant, Diversity Committee Dialogue, College Art Association (2005–2006)
・Review Panelist, Cambridge Arts Council Grant Program, Cambridge, MA (2005)
・Review Panelist, Multidisciplinary Review Panel, National Endowment for the Arts, Washington D.C. (2004)
・Review Panelist, AIR Program for The Berwick Research Institute, Boston, MA (2004)
・Advisory Committee for 2003 exhibition, Chen Zhen, Institute of Contemporary Arts, Boston, MA (2002)
・Selection Committee, the List Foundation Fellowship Selection, MIT, Cambridge, MA (2002)

●SELECTED AWARDS AND HONORS 

USA:
・Creative Work Fund, CA (2011) 
・East Bay Community Foundation Award, CA (2010) 
・Visiting Fellowship, Aoyama Gakuin University, Tokyo, Japan (2009) 
・National Performance Network Grant, New York, NY (2008–2009)
・Art Matters Nomination, New York, NY (2008)
・Institute for Contemporary Art, Boston: ICA Prize Nomination for KIKUCHI+LIU (2008) 
・Artadia: The Fund for Art and Dialogue, New York, NY (First Prize Awardee) (2007)
・LEF Foundation Research Fund: Evaluation of Design Studio for Social Intervention and its projects with the United States Social Forum (2007)
・The Louis Comfort Tiffany Foundation, New York: Louis Comfort Tiffany Biennial Award Nomination (2007)
・LEF Foundation Contemporary Work Fund 2006: Grant for NBMC publication, "A Manual for Better Living through Bitter Melon" (2007)
・Grantmakers-in-the-Arts: Beantown Remix (Commissioned event) (2006) 
・Institute for Contemporary Art, Boston: ICA Prize Nomination for the National Bitter Melon Council (2006) 
・LEF Foundation Contemporary Work Fund 2005: Grant for NBMC 2006 public projects (2006) 
・LEF Foundation Contemporary Work Fund 2004: Grant for "Sifting the Inner Belt" (2005) 
・St. Botolph Foundation Award, Boston, MA (2002) 
・Visible Republic Commission for the New Modern Cultural Center, New England Foundation for the Arts (2001) 

●SELECTED PUBLICATIONS

・“Tsumugu,” project catalogue. Co-Authors: Okada Masumi, Kikuchi Hiroko, Kondo Takeshi, Takashima Kasumi, Toda Maiko, and Tominaka Mioko; edited by Nakamura Shiho; designed by Urushihara Yuichi (tento); published by Mori Art Museum. (2024)
・“PinS Project” project catalogue. Co-Authors: Akashi Nobuko, Iwasaki Shuichi, and Kikuchi Hiroko; edited by NPO inVisible; published by the Tomioka Town Board of Education. (2024)
・“Rethinking Mental Health from Artistic and Cultural Perspectives and Practices -Through the Case of Mindscapes-“ Co-Authors: Kon Satoshi, Hayashi Akio, Kikuchi Hiroko; edited and published by JASCC. (2023) 
・“Heso (Belly Botton): A Guidebook for Social Sculptors" essay contribution. Edited, designed, and written by Yu Sakurai (TISSUE Inc.); published by Motion Gallery Inc. (2021)
・“Proposal 1 in 200,000: ‘Creative Disruptions of Everyday Norms’” essay contribution. Published by NetTAM, Toyota Art Management. (2020) 
・“Multiple Elementary” exhibition catalogue. Edited by Helen Reed and Hannah Jickling; published by YYZBOOKS & Black Dog Publishing, London UK. (2017)
・"Chapter 4: Art and Commons – Community Engagement through Contemporary Art in American Society,” New Commons Theory. Co-authored and edited by Takehiro Hosono, Shozo Kazami, Miki Yasui; published by Chuo University Press. (2016)
・"Cultivating Ways of Working: Creating a Common Understanding in the Field of Art." Authors: Hiroko Kikuchi, Aki Hoashi, Mari Yamauchi, and Tomoko Wakabayashi; edited by Yoko Kawamura; published by Arts Council Tokyo. (2016)
・"The Current State of Curation: Re-examining 'Education' through Art in the World" essay contribution. Co-authored and edited by the Film Art Company Editorial Department; published by Film Art Company. (2015)
・“‘Art in the American Way Using Art as a Tool to Create a New Kind of Community’ What is art that engages society?” essay contribution. "Public Art Magazine, Vol 4. Co-authored and published by Art & Society Research Center. (2013) 
・“Feast: Radical Hospitality in Contemporary Art” exhibition catalogue. Edited by Stephanie Smith; published by Smart Museum Of Art, The University Of C; 1st edition. (2013)
・“Better Living through Bitter Melon: A Manual” artist catalogue. Edited by and produced by the National Bitter Melon Council; funded by LEF Foundation. (2010)
・“Viz Inter-Art” essay contribution. Published by University of California, Santa Cruz, CA. (2010)
・“The National Bitter Melon Council“ essay contribution. “decentre: concerning artist-run culture/a propose de centres de’artistes.” Edited by Elaine Chang, Andres Laionde, Chris Lloyd, Steve Loft, Jonathan Middleton, Daniel Roy, Haema Sivanesan; published by YYZBooks, Toronto, Canada. (2008)
・“Re-received ideas: a generative dictionary for research on research” performance research. Edited by in Gwen Allen, Iain Kerr, and Chris Thompson; published by London Arts Journal, London, UK. (2008)
・“Umami” essay contribution for “Sensorium: Embodied Experience, Technology, and Contemporary Art.” Edited by Caroline A. Jones; published by MIT Press, Cambridge, MA. (2006)
・"The Arts Administrator's Sketchbook" exhibition catalogue. Published by The Green Lantern Press, Chicago, IL (2006)
・“The Treasure Hill Garden Portrait Studio” GAAP: Global Activists Participation Project at Treasurehill. Edited and published by OURs, the Department of Cultural Affairs of Taiwan, Taipei, Taiwan (2005) 

●SELECTED ARTICLES AND REVIEWS 

JAPAN:　Most articles are written in Japanese (2014－current). Visit the website to read at kikuchihiroko.com.
・“What is the Significance of Reexamining Mental Health through Culture and Art? A Case Study of Mindscapes Tokyo” interviewed by Ryohei Nakajima; published online by Bijututecho, July 19, 2023.
・“Art Series ‘The Shape of Borders’ Vol. 13: The Challenges of Using ‘Invisible’ Art as a Catalyst for Shaping Society” interviewed by Ichico Enomoto; published online by TOKION, June 16, 2023.
・“‘Playful Ants’ that Change the World: Making the Invisible Visible to Create Small Change that Reshapes Society” interviewed by Yasuhiro Karakawa; published online by PAPER SKY, September 27, 2021 
・“Life Style” Interviewed by Yuka Itaya; published in print and online by Asahi Newspaper/Bon Marche, February 12, 2020. 
・“N Women’s Social Action” interview. October issue, Precious Magazine. Published in print and online by SHOGAKUKAN, 2019.
・“Have We Nurtured Creativity? Schools but Why We Don't ‘Teach’ It” interview. Business Leader Square Wisdom. Published by NEC, September 26, 2019. 
・“Opinion 21 ‘Point of View’” a series of 7 articles. Published by Jomo Newspaper, Gunma Prefecture,  2017-2018. 
・“Interview Vol. 13. Creating a City Alive with the Power of Art” interviews. WAVE+. Written by Hisatake Yamashita; published by WAVE+, Okamura, April. 2014. 

USA:
・“A new kind of art isn’t actually so new. And it isn’t just art either” by Walter Ryce. Monterey County Weekly, 2015.  
・“The Betterness of Bitterness” by Curtis Ogden, Interaction Institute for Social Change, 2012.
・“Bitter Melonism” ISSUE 23: BITTERSWEET - SPRING 2011. the Hyphen Magazine, USA, June, 2011.
・“Untitled” Art Asia Pacific Magazine, USA, May, 2011
・“Interview of Hiroko Kikuchi & Jeremy Liu” by Ding Yuhna. Art Review, Shanghai, China, 2010. 
・ “The Garden of LACMA”. Fine Arts LA, Los Angeles, CA, 2010.  
・“All Together Now” by Jeremy Rosenberg. Next American City, April 30, 2010
・“Better Living through Biter Melon: A Manual” artist catalogue. Produced by the National Bitter Melon Council. Funded by LEF Foundation, 2010. 
・“Artists Paint Phila, Chinatown Parking Lot Orange” by Christian Holland. Big, Red and Shiny, 2009. 
・“Intervene! Interrupt! Rethinking Art as Social Practice” by Jennie Klein. Art Papers, 2008. 
・“The Gatherers: Show focuses on sustainability” by Reyhan Harmanci. San Francisco Chronicle, October, 30, 2007 
・“Playing with perceptions of space” by Cate McQuaid. The Boston Globe, October 22, 2007
・“Big Red On-the-Town: Berwick Revolving Dinner”. Big Red & Shiny, Issue 28, 2006
・“Ambitious and engaging show makes art of community” by Cate McQuaid. The Boston Globe, July 8, 2005
・“Bitter Melon enlists a neighborhood” by Kimberly W. Moy. Food, The Boston Globe, July 20, 2005. 
・“BCA and Berkeley Street Community Garden connect community and examine changes in the SE” by D’lynne Plummer. South End News, July, 2005.
・“Helping their human garden grow Unusual effort tries to show hidden ties”  by Kimberly W. Moy. The Boston Globe, July 10, 2005.
・“All Over the Map: New technology inspires projects that are redefining the artistic landscape” by Cate McQuaid. Living/Arts, The Boston Globe, April 15, 2005.
“Cut Piece” a review by Midori Yoshimoto, Art Asian Pacific Magazine, 2005 
・“Pride or prejudice: A formally taboo topic among Asian-Americans and Latinos comes out into the open as skin tone consciousness sparks a backlash” by Vanessa E. Jones. Living/Arts, The Boston Globe, August, 19, 2004
・“Performance artist exposes our relationship with chocolate: Wonder Bar” by Mary Jo Palumbo. in the Edge. The Boston Herald, April 17, 2004 

(updated in May 2024)

If you have any questions about my work, please do not hesitate to contact me.