Fabulous Beasts’ is a series of fur coats purchased in and around Berlin dating from 1950-2000. The coats are shaved to remove all traces of fur and to re- veal the archaeology of their production including manufacturers stamps, painstaking patchwork detail, dye marks and animal skin diseases and blemish- es. The coats are further deconstructed based on the tailoring pattern and reconfigured into flat skins mounted on a stretcher as tokens of a defunct idea of wealth. Reminiscent of anthropological hides and early man’s clothing the works trace the changing nature of taste, value, luxury and society. In their new state the skins appear both primal and luxurious in an age where the deeper knowledge of production history is fetishized as much as the finished products themselves. ​

Simon Fujiwara’s early installations and narrative performances (2008–2012) largely traced his own identity formation as a multi-part auto-fiction presented through the re-staging of his own childhood events, reconstructions of historical places associated with his conception and the mythologising of his origins as an artist. His work can be seen as a complex response and sometimes critique of the increasing cultural obsession with self-presentation that new technologies offered to his generation. Working often in collaboration with others in the telling of supposedly personal stories, Fujiwara’s work explores the concept of the contemporary individual–self-determined, self-narrativised, unique–and presents a highly contingent notion of the self that can only be defined through the participation of others.​

​Fujiwara’s recent solo exhibitions include: Joanne, Galerie Wedding, Raum für zeitgenössische Kunst, Berlin (2018), Hope House, Kunsthaus Bregenz (2018); Figures in a Landscape, Kunsthalle Düsseldorf (2016), The Humanizer, Irish Museum of Modern Art, Dublin (2016), White Day, Tokyo Opera City Gallery (2016), Three Easy Pieces, The Carpenter Center, Harvard University, Cambridge (2014), Grand Tour, Kunstverein Braunschweig (2013), 1982, Tate St. Ives (2012), and Welcome to the Hotel Munber, Power Plant Contemporary Art Gallery, Toronto (2011). Among recent biennials and group exhibitions are: Berlin Biennale 9, Akademie der Künste, Berlin (2016), Storylines, Solomon R. Guggenheim Museum, New York (2015), Un Nouveau Festival, Centre Pompidou, Paris (2014), Sharjah Biennial (2013), Shanghai Biennial (2012), Gwangju Biennial (2012), São Paulo Biennial (2010), and the 53th Venice Biennale (2009). Fujiwara was the recipient of the 2010 Baloise Prize at Art Basel and the 2010 Frieze Cartier Award.​