people are finally trying to re-discover, to find out where and who we are, to explore what was, what has become. Furthermore at the beginning of the Meiji Era, Kakuzo Okakura, a very young but important figure in the establishment of Tokyo Geidai, and others were instrumental in establishing ideas around cultural nationalism. How they could establish their own style within Japanese tradition and Westernisation was such an important argument, in fact not only in art but also in political relationship. Back to your original question, I think China and many other Asian countries have been going through similar changes in the society. In fact, Japan has experienced such critical moments and that has ertainly been reflected in the recent artistic practices. KW: I am interested also in the situation for a younger emerging artists post Murakami and Nara – both having achieved huge international success and recognition. I wonder what opportunities exist in Japan for younger artists. I am interested in your MAM projects and how Mori Art Museum itself is supporting the activities of the emerging artists. What do you see as the issues facing young Japanese artists, working within an art scene that is now so internationalized. MK: I think across the world, it’s a tough time for younger generations but it is the same for mid-carrier and senior one’s as well. In a way, young artists have many more opportunities to be financially supported as there are more programmes to support emerging talents. I think Murakami has emerged from the time of global art. So everyone was eager to see what is coming out from