He lived for a time at the Woodstock Art Village with fellow students Sakari Suzuki and Jack Chikamichi Yamasaki.

[10] (Other assistants included: Lucienne Bloch, Stephen Pope Dimitroff, Lou Block, Arthur Niendorf, Seymour Fogel, and Antonio Sanchez Flores.)

"[12] In 1934–1935, Noda's work appeared in the Whitney Museum's "Second Biennial Exhibition of Contemporary American Painting" along with Kuniyoshi's.

Noda is a mural painter and a real modern, immensely responsive to the daily sorrows and beauties of people in 1935.

[3] In 1935, Noda's murals lost out to those of Edward Laning for Ellis Island: It was a great relief to PWA, to the College Art Association, to Architects Harvey Wiley Corbett and Chester Holmes Aldrich and to Edward Laning last week to learn that Commissioner of Immigration & Naturalization Rudolph Reimer at Ellis Island had finally approved Artist Laning's designs for murals for the dining hall at New York's immigrant station.

The Noda mural was promptly rejected because Negro cotton pickers were shown wearing turtlenecked sweaters and creased trousers, because the creature pulling a poor blackamoor's farm cart seemed to be a full-blooded Percheron stallion.

Hideo, a gentle boy of poetic temperament, had found the resident commissioner of immigration impossible to cope with and in despair had run away.

[20]) In New York, Noda became acquainted with leftist American art historian Meyer Schapiro, a classmate of Chambers at Columbia, and they corresponded between 1934 and 1936.

[21] In his 1952 memoir, Whittaker Chambers claimed to have recruited Noda, who he said was a communist, in late 1934 as translator for the head of a Tokyo spy cell.

Sherman and Noda spent an unsuccessful year (1935) in Tokyo, at the end of which the cell closed suddenly and both returned to New York.

In 1936, upon Noda's return to New York from the failed Tokyo cell, Chambers gave him his next instructions, namely to go to Southern France (Nice or Antibes) and wait until contacted.

[22] A 1940 issue of the Bulletin of the New York Public Library notes under "Limited or Other Special Editions" the following entry: "Mrs. Ruth Noda Hulley – No.

A number of Japanese-American artists involved themselves in Communism during the 1930s: Both Ishigaki and Noda were members of the communist John Reed Club ...

Japanese American artists could easily empathize with their black contemporaries, another minority facing discrimination, and they made work that joined them in protest.

In New York, Eitaro Ishigaki painted a black history mural for a Harlem courthouse, while he, Isamu Noguchi, and Hideo Noda each produced artworks of lynchings.

The Piedmont High School sold its mural to the Kumamoto Prefectural Museum of Art:[18] The Noda Fund was established by the Board of Education to use proceeds from the sale of a mural by artist (and former PHS student) Benjamin Hideo Noda to establish a fund from which the interest earned is used for grants to support visual arts at the secondary level.