teamLab Borderless closed in Odaiba and reopened in Azabudai

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What the record dates

The collective's own press page states that its Odaiba, Tokyo venue — produced with Mori Building — "launched on June 21, 2018" and "ran until August 31, 2022, when it ended," in the Business Wire release teamLab syndicates on its own site. A separate current listing on teamLab's exhibitions page gives the replacement venue at Azabudai Hills as running "Feb 09, 2024 – Permanent." Read together, the two pages date three facts: an opening, a closure, and a reopening at a new address under the same name, each stated by the operator rather than reconstructed from secondary reporting.

What creates the image

teamLab describes Borderless as "a world of artworks without boundaries, a museum without a map," in which the exhibition's own page says "artworks move out of rooms, relate to other works, influence each other, and at times intermingle, without boundaries." The mechanism is video projection mapped across walls, floors and connecting corridors, driven by software rather than fixed film, so a single image can appear to travel from one room's surfaces into the next. The exhibitions listing describes one work, Sketch Ocean, where visitors colour a fish that then "comes to life" and swims inside a shared projected sea — a documented example of the space responding to what visitors bring into it. Viewing needs a darkened room, since projected light competes with ambient light; there are no fixed seats, no glasses and no head tracking, and the image is shared identically by everyone present rather than keyed to one viewer's position.

What is and is not documented

Neither page states a projector count, a computer count, or a total floor area for the current Azabudai galleries — figures sometimes quoted for the venue elsewhere are not confirmed on the pages this entry opened. The same listing also shows "teamLab Borderless" now operating simultaneously under one name in Jeddah and, as announced, Hamburg, alongside standalone teamLab museums in several other cities. That makes Borderless a licensed exhibition brand rather than a single fixed installation, an editorial distinction worth stating plainly: a visitor comparing photographs from two cities may be comparing different rooms, different projector counts and possibly different software builds under an identical name.

• How many projectors and computers currently run the Azabudai galleries specifically, as opposed to the brand generally?
• Do interactive works like Sketch Ocean behave identically across every city carrying the Borderless name?
• What happens to a room's imagery if the real-time rendering or tracking system fails mid-visit?

The dates are solid, operator-stated facts; the technology behind them is described only in kind, not in quantity, on the pages available for this entry.