Setouchi Art Festival is realising beautiful projects because they bring artists and young people, not only for the time where and when they have biennales, but also beyond that time as some of those young people are returning to stay in the remote islands, opening cafés or small art projects. When we are talking about localized communities, then that really makes sense when considering that sort of visible audience. They can create one-to-one relationship with audience, which is really great in a sense that we can feel contemporary art could be some sort of medium to make social connections. Wherase, a large institution like Mori Art Museum has large and anonymous audiences. There are things that can be done in such large museum in the very visible and accessible location, from connecting ideas of contemporary art to the larger international audience, making contemporary art as a part of modern life, making international and scholarly discourse visible for the wider public, to making history by doing all of them. KW: Yes, that is interesting. MK: So it’s not about having large or small things. Now is more about, and this relates to my presentation at the Daiwa, connections and the connecting of activities. Ones that you feel are more true to yourself or real, that could be connected. Activities that Masato Nakamura is doing, undertaking projects in Japan at a nationwide level. He is also trying to become a focal point of all such small activities, not only from 3331 Arts Chiyoda in Tokyo, but