path. He started his Sodan Geijyutsu – consultation art in the late 80s and it was often articulated in the context of Relational Art or participatory art. He became one of those artists who could incorporate local people and social context encouraging audiences to participate in his works. KW: You touched upon quite interesting issue about engagement with audiences. Also, you previously expressed your thoughts on the Echigo-Tsumari Triennale. During the past decade, there has been a boom in such contemporary art projects in various areas of Japan, often as a tool of rural, town or city regeneration. What may be unique about these projects is that many are happening outside the situ of the museum and are being led NPOs and by the communities where the projects take place. From these new sites organisations are exploring approaches to artistic production and exhibition, often engaging with the complexities of the rural situation and working with its local context to address economic or social issues. In the meantime, as part of the increasingly globalised art scene, contemporary public art is being reinvented by contributions of artists beyond the traditional international centre’s. KW: For instance Beppu project, NPO, amongst numerous others. Part of my interest lies in what impact such projects actually have on communities. I just wonder what your view point is? MK: I think importance should be placed on that society for the needs of multiple layers of activities. For instance