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      <image:caption>Kay Sekimachi, Ogawa II, 1969, nylon monofilament. Collection of Forrest L. Merrill, Photography by M. Lee Fatherree.</image:caption>
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      <image:caption>Ken Tadashi Oshima presenting the keynote lecture at the ‘Moonscape of the Mind’ symposium. Photograph by Abraham Diaz.</image:caption>
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      <image:caption>Elissa Yukiko Weichbrodt answering questions during the Q&amp;A portion of Session II. Photograph by Abraham Diaz.</image:caption>
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      <image:caption>A view of the Japanese Cultural and Trade Center in 2012. The tall building at the far right was the Miyako Hotel; the Peace Pagoda next to it was not designed by Minoru Yamasaki &amp; Associates. Wally Gobetz, Flickr, 2012.</image:caption>
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      <image:caption>Micheal Allen presenting their research on architect Minoru Yamasaki, ‘Yamasaki’s Interiors at Pruitt-Igoe: Representations and Misrepresentations,’ during Session I. Photograph by Abraham Diaz.</image:caption>
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      <image:caption>BIEB project lead Lynnette Widder introducing the theme of and contributors for Session I. Photograph by Abraham Diaz.</image:caption>
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      <image:caption>Justin Beal discussing architectural models of the World Trade Center within ‘Yamasaki’s Model &amp; the Idea of the World Trade Center’ during Session I. Photograph by Abraham Diaz.</image:caption>
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      <image:caption>Aki Ishida presenting on artist Miné Okubo within the presentation ‘Citizen 13660: Decolonized Architectural Ethnography’ as a part of Session III. Photograph by Abraham Diaz.</image:caption>
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      <image:caption>Marin Sullivan presenting on the complex and dynamic legacy of sculptor Shinkichi Tajiri within the presentation ‘A Displacement of Forms: Shinkichi Tajiris Made in USA’ during Session III. Photograph by Abraham Diaz.</image:caption>
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      <image:caption>Rod Henmi, son of architect Richard Henmi, contributing to discussions during a Q&amp;A session. Photograph by Abraham Diaz.</image:caption>
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      <image:caption>Lynnette Widder, Sanae Nakatani, and Christina Hiromi Hobbs in conversation at the BIEB exhibition inside WUSTL's Olin Library. Photograph by Abraham Diaz.</image:caption>
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      <image:caption>Student drawings from the Fall 2022 course ‘Matsumoto Modern’ displayed within the BIEB exhibition inside the Thomas Gallery. Photograph by Abraham Diaz.</image:caption>
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      <image:caption>Russell Bankson, "James Wakasa Funeral Scene," April 19, 1943. Courtesy National Archives at College Park, Still Picture Records Section, Special Media Archives Services Division.</image:caption>
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      <image:caption>Blueprints of the Mansion House Apartments in St. Louis within the BIEB exhibition inside the Thomas Gallery. Materials provided by Rod Henmi, Richard Henmi’s son. Photograph by Abraham Diaz.</image:caption>
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      <image:caption>“A Romantic Journey” measures 17 x 24 inches wide. It is a collage of color photographs superimposed on a black and white photograph of the German countryside. The background is in soft focus, placing emphasis on romance. Credit line: Studio Giclee, Wilmington, NC; Design and Photographs Tets Yamashita; Harte Yamashita &amp; Harte Inc; Printed by the Short Run Press.</image:caption>
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      <image:caption>A section of the BIEB exhibition related to the St. Louis Science Center, the Flying Saucer building, and the Japanese Garden in St. Louis. Materials provided by the St. Louis Science Center, the Missouri Historical Society, and the Missouri Botanical Gardens. Photograph by Abraham Diaz.</image:caption>
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      <image:caption>Minoru Yamasaki &amp; Associates, Model of the World Trade Center c. 1969 Balthazar Korab, photographer (courtesy of the Library of Congress).</image:caption>
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      <image:caption>The kitchen table at the Kochiyama family apartment in the Manhattanville Houses in Harlem, New York, 1996. Courtesy of the Yuri Kochiyama Archives Project.</image:caption>
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      <image:caption>George Nakashima’s Odakyu Cabinet features the asa-no-ha (hemp leaf) pattern grillework on the doors. At its most complicated point, twelve small members made of Japanese cypress interlock and form perfect symmetry without glue or nails. Nakashima’s interest in wood joinery grew as he worked alongside an Issei carpenter building model rooms for the detainees in the Minidoka camp.</image:caption>
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