SCAI THE BATHHOUSE has a unique perspective gained from representing artists who embody the whole development of Japan's contemporary art from the 1960s to the present. From established artists responsible for building up postwar contemporary art, through mid-career artists who lead the current art scene, to young artists who provide glimpses of a new generation, SCAI consistently provides the overall perspective as it exhibits and contextualises each generation, and in doing so has created a market for their art. 

From its establishment, SCAI has supported the ongoing activities of each of the generations of artists it has presented, from Japanese artists such as Genpei Akasegawa and Tadanori Yokoo, who wrote the first chapter in Japan's contemporary art; Toshikatsu Endo, Tatsuo Miyajima, and Mariko Mori, who generated worldwide interest in Japanese contemporary art in the late 1980s and 1990s; to younger artists such as Kohei Nawa who has been regularly invited to international biennales and major art museums. SCAI has had a substantial impact on Japan's art scene, and has kept in constant touch with the cultural climate throughout East Asia. Its approach is based on the belief that the art requires contextualisation in a broader historical and geopolitical scheme, while constantly projecting a new vision for the future. 

SCAI's missions extend beyond conventional gallery activities. Maintaining a continual dialogue with representing artists and local organisations, it has installed numerous pieces of publicly commissioned works including the permanent installation by Anish Kapoor at 21st Century Museum of Contemporary Art, Kanazawa; and Louise Bourgeois’s iconic sculpture at Roppongi Hills, Tokyo. It has also supported the foundation of new museums such as Lee Ufan Museum in Naoshima Island. SCAI has realised many iconic projects across Japan that irrevocably altered the landscapes of both rural and urban sceneries.