may say that our brain is composed of two parts, one part is logical, to communicate with other people to share the same understanding, and the other the sensory part, is very difficult to describe or share. But more and more I think a sensory understanding is as important as the logical part and we need to be aware of that. So “Sensing Nature” was about that idea of perception in Japan and I suggested its stronger influence or connection to the idea of Mono-ha or a number of the performative practices of the 50s and 60s. Furthermore, “Phantoms of Asia,” which I guest curated for Asian Art Museum in San Francisco in 2012, is about exploring that vision, more inline with Pan- Asian artists. So this exhibition was to develop my intuitive theory further, taking Asian cosmology and spirituality, and looking at how those ways of understanding the whole universe, or how this world was created, and issues around that perspective. I am not suggesting for us to go back to pre modern era, yet we cannot deny how behavior or ways of living are informed and understood by such a perception even in our contemporary time. I want to encourage people to see art not solely from a strong conceptual, political, or social point of view, all of which are of course very important, but equally, to think of the relevance and to understand contemporary art from a sensory perspective. KW: Looking into place making & public art, one can be aware that its current mutations are intimately related to the process of globalisation and restructuring of local culture. If urbanisation is the most spectacular aspect of