ABSTRACTDuring the summer of 2015, a series of events at the Museum of Fine Arts, Boston called Kimono Wednesdays encouraged visitors to try on a replica of the kimono Claude Monet's wife wore in her husband's 1876 painting La Japonaise and then pose for photos in front of the painting. This seemingly benign act of appreciation sparked protests from those who considered the events as perpetuating an exoticizing imperialist gaze and orientalizing stereotypes. This paper contextualizes this controversy by examining the history of white women cross-dressing as Japanese, how it constitutes a form of naturalized whitewashing linked to the pleasure of consumption through its connections to Gilbert and Sullivan's The Mikado (1885), and how the same act for Asian American women at the turn into the twentieth century is fraught with the anxiety of racial identity suppression.