T3 PHOTO ASIA 2026 is an international art fair dedicated to photography, held alongside T3 Photo Festival Tokyo, one of Japan’s leading urban photography festivals. Now in its third year, the fair brings together galleries, artists, collectors, publishers, and photography professionals from across Asia and beyond, fostering new dialogue and opportunities within the region’s photography market. This year’s special exhibitions examine the evolving landscape of Asian photographic culture through a focus on China, featuring RongRong & inri in Masters and Thomas Sauvin’s Things Left Behind in Discover New Asia. The fair also launches NEXT EDITION, a new section dedicated to photo books and print editions, highlighting emerging galleries and platforms shaping the next generation of photographic culture.
Discover New Asia Vol.3
Thomas Sauvin
Thomas Sauvin
Masters Vol.3
RongRong&inri
SIGMA FOUNDATION
SIGMA FOUNDATION
T3 NEW TALENT & MARUKAWA Collection
Two Exhibitions Curated by UMEZU Gen
Conceived as a pair, the two shows are much like Side A and Side B of a single vinyl record.
Side A: POST INDUSTRIAL MEDIUM interrogates photography through the lens of theory. Photography has long been regarded as a “technology capable of producing unlimited reproductions.” Yet now that anyone can reproduce images, where does the uniqueness of photography lie? Through the works of 19 artists — ranging from Jiro Takamatsu and Nobuo Yamanaka of the 1970s and 1980s to contemporary artists such as Masaru Aikawa and Shiho Yoshida — the exhibition re-examines the fundamental principles of photography, such as light and traces.
Side B: Photographs with Nowhere to Return engages directly with photographic affect. Romance, nostalgia, melancholy. Photographs are inextricably imbued with a lyricism that cannot be fully captured by theory alone. The title pays homage to Yosui Inoue and Kiyoshiro Imawano’s song “Kaerenai Futari” (The Two Who Cannot Return) and Yoshiyuki Osawa’s “Soshite Boku wa Toho ni Kureru” (And I Am Left at a Loss). At the same time, it draws upon Nobuo Ina’s “Return to Photography” and Takuma Nakahira’s theories on photography. As one selects photographs, a playlist naturally takes shape in one’s mind. This collection exhibition has been curated from that very sensation.
For Umezu, who has long approached photography through the discourse of art theory, Side A represents theoretical practice, while Side B marks an affective, interior release. Yet neither is subordinate to the other. Conceived from the mind of a single curator, they function together as a “double A-side” record. Visitors are invited to move freely between the two exhibitions and experience them as two complementary faces of a cohesive whole.
POST INDUSTRIAL MEDIUM:
The End of the Age of Mechanical Reproduction
The End of the Age of Mechanical Reproduction
Photographs That Cannot Return: Belonging,
Release, and Filling — And Photography Is Left at a Loss
Release, and Filling — And Photography Is Left at a Loss