you have worked for Mori Art Museum. I wonder if you could talk a little about your interests and the museum’s focus on the Asian contemporary art. And what yourself have described as a “rediscovering the inter-connection in between the histories, cultures and religions throughout Asia”. MK: Mori Art Museum’s focus on Asia, stems from a specific strategy or vision, to be one of the hubs of contemporary art within Asia, or in the larger Asia Pacific region. From starting at Tokyo Opera City Art Gallery curatorial practice is not really about my personal taste or interests. It has been more about how we position ourselves in a larger context and how contemporary art could find its role in the society and its history. For instance “Releasing Senses,” the inaugural exhibition, at Tokyo Opera City Gallery, was an attempt to understand art through sensory ways not limited to the visual sense. Which is a little opposite of a conceptually driven or political social way of understanding art, but which is I still believe, very important, particularly for Japanese and Asian perception of everyday surroundings. The similar issue appeared again in “Sensing Nature” in 2010 at Mori Art Museum. It was a meaningful exhibition to reconsider Japanese perception of Nature through the form of installation media. I think that answers some of your later questions, representation of stylistic understanding of Japanese art, Cool Japan or Kawaii, those kind of clichés. Very often Japanese Art has been represented and interpreted, is a very particular one in the last 15 to 20 years. But it is a time to have an