Representation

The Estate of Teruko Yokoi is represented globally through a small group of galleries working in close collaboration with the Estate and its archival partner.
These relationships reflect long-term commitments to scholarship, exhibition making, and the careful stewardship of works by the artist.

Each representing gallery holds a distinct body of works and contributes uniquely to the preservation, interpretation, and institutional visibility of Yokoi's oeuvre. Access to archival materials, scholarly documentation, and high-resolution images is coordinated through the Estate's lead archival partner.

Emerald Room serves as the Estate's primary archival, scholarly, and institutional liaison, overseeing research access, catalogue raisonné development, and coordination with museums and curators internationally. In addition to its archival role, Emerald Room represents a significant group of paintings by Teruko Yokoi, including works from her early San Francisco, New York, and Paris periods.

Emerald Room has supported institutional placement of Yokoi's work, including the accession of a significant group of early lithographs and overpainted lithographs into the permanent collection of the University at Buffalo Art Galleries. Emerald Room also led the placement of works into the permanent collection of the Restaurant Teruko at the Chelsea Hotel, where Yokoi's work is presented in a dedicated public setting that situates it within her late-1950s New York period and the broader development of abstraction in postwar New York.

Kent Fine Art represents a significant group of paintings by Teruko Yokoi, including important works from her early New York and Bern periods. The gallery has played a key role in presenting Yokoi's work to collectors and institutions across the United States and continues to support institutional exhibitions and related media engagement.

Hollis Taggart has been an important exhibition partner for the Estate, presenting Yokoi’s work within a broader postwar and modernist context and contributing to renewed scholarly and institutional attention.

Galerie Kornfeld has played a significant role in the long-term exhibition history and secondary-market stewardship of Teruko Yokoi. Since the 1980s, the gallery has presented eleven exhibitions of Yokoi’s work, most recently in December 2024, contributing materially to sustained scholarly and market visibility over multiple decades.

As a leading European auction house, Galerie Kornfeld has also been an important point of passage for works by Yokoi in the secondary market, supporting transparency, historical continuity, and informed circulation of her work. While Galerie Kornfeld does not represent the artist or the Estate and does not act on behalf of the Estate in institutional or curatorial contexts, it remains a valued long-standing partner through its exhibition history, publishing activity, and ongoing dialogue with the Estate and its representatives.

Throughout her career, Teruko Yokoi worked with a number of galleries, dealers, and institutional figures whose engagement played an important role in the development, exhibition, and reception of her work. The following list reflects selected historical professional relationships and does not indicate current representation.

• Marlborough Gallery (New York), 2023-2024

• Martin Krebs, Galerie Krebs (Bern), 1970s- 1990s

• Galerie Atrium (Basel), 1970s-1980s

• David Anderson, Martha Jackson Gallery/David Anderson Gallery (New York), 1960s-1970s

• Arnold Rüdlinger (Kunsthalle Basel, Kunsthalle Bern), 1960 -1967

• Martha Jackson, Marrtha Jackson Gallery (New York), 1957–1965

• Kusuo Shimizu, Minami Gallery (Tokyo), 1950s-1979

• Scotty Tsuchiya (San Francisco), 1950s

Additional historical relationships and institutional engagements are documented within the Estate archive.