alternative view for this. Curators such as David Elliot has been critically aware of this particularism. His thoughts were well presented in the show he curated “Bye Kitty!!! Between Heaven and Hell in Contemporary Japanese Art” at Japan Society in 2011 KW: A counterpoint to Murakami’s “Superflat” exhibition at the Japan Society in ’95 MK: Yes. The exhibition also shows another way of articulating Japanese Art. Yet, I am recently more interested in articulating, Japanese Art or Asian Art from the perspective of non-form, impermanent and invisible presence. It’s more non-logical, irrational side, of the universe. And if we are looking at that part, I think it becomes clearer as to why Western culture, and the Western world has shaped so much of the world we now know since the European Enlightenment, which is rational and scientific, therefore easier to be shared. But the non-logical, irrational, is still very much a larger part of the way of living and understanding the whole function of the universe and in a way Eastern culture or pre- modern understanding, we still share so much of that realm. Particularly after modernisation and Modernism, something spiritual has become something outside of the normal artistic discourse – if we look at it in terms of Japanese spiritual beliefs, as say manifested through as Shintoism, then we are not as such talking about religion in the Western sense of the that term. it’s more about sensory understanding rather than being religious. If we