also in Tohoku and many other places. By having that kind of space, one that makes connections possible, he can achieve that kind of goal to connect those small activities. KW: Yes, I am interested in what Nakamura-san’s activities. 3331 Arts Chiyoda as a hub from which such connections may take place. MK: Yes. So doing something is different from connecting those projects. And probably it’s very important to find somebody who could act as a connector instead of initiator. I think Masato is very much aware of that role. KW: Nakamura-san’s projects do seem to offer an interesting model but do you think that such projects could have wider impact outside of Japan? MK: I am sure his activities could and he is already connected with activities outside of Japan. He has invited people for instance from Taipei Art Center, which is also another artist run space. Within his vision, I think it is possible to make a connection between people who work in with a similar purpose, similar vision and similar scale. But they are certainly not going to become a museum of Modern Art in New York. It is totally different. I think this connection or networking of art or art activities is simply one artwork. It is more Rhizome in approach, kind of inter-connected complicated connections. As larger institution, Mori Art Museum, we are trying to achieve a larger vision as to how the international art world is changing. But also through