because the purpose is very different. Often those people ask artists to come in and do something. But the essential part of their artistic production is very different, as they are doing it for other purposes, that are fundamentally different. They ‘use’ art as a means for other purposes. Secondly, the Echigo-Tsumari Triennale directed by Fram Kitagawa is now sponsored by Mr. Fukutake, of Benesse Corporation, who established and funded his own major art related project. KW: Benesse Art Site Naoshima, Seto Inland Sea MK: Yes, Naoshima. And he also started the Setouchi Triennale (Setouchi International Art Festival) in 2010. So the interesting part is, those two individuals, and also Mr. Mori, are all owners of private companies. The late Minoru Mori and Mr. Fukutake both private philanthropists, such individuals like them have always played significant roles in development of the Japanese art scene. Including Mr. Hara of Hara Art Musuem. There was also a Japanese ICA, in Nagoya in the 90s, Mr. Takagi, who was a gallery owner as well as a private philanthropist, was responsible for establishing that. What could possibly link or be common between Echigo and Mori Art museum, is that, it is part of the regeneration of localities. Difference is that one is happening in urban-space, while the other is in regional space. Yet, interestingly, they both have a sense of spectacles, as Mori Art Museum has incoporated the view of the metropolis from 52-53rdfloor while Echigo-Tsumari (and Setouchi) makes contemporary art spectacle in the