→PART2 The Japanese audience would hate me no matter what I did, so not only did I have no expectation for them, I would also pay them back double if they badmouthed me. Moreover, my studio, where my hired assistants on salary work with me, has always been filled with discontent and anger. In other words, everything about me has been the opposite of Nara, so I have always been envious of him. Now, however, in a shift away from his exclusively upbeat mood of the past, Nara seems to be reflecting deeply, not being able to trust the others. In his sullenness, his despair from feeling used has turned into resentment, and it is as though he is forced to once again question his place in this world. We really can’t judge others by their appearances. It appeared to me as though he had everything going for him and, in fact, probably nothing specifically bad has happened, yet at the depth of his soul there seemed to be something stagnant and muddled. And that depth was something unfathomable to those of us looking from the outside. After the reception was over, at a little past five in the afternoon, Nara invited me to go around the exhibition, now deserted, just the two of us together. He told me about his ideas about the various installations and explained to me the way in which each of the works had been so difficult to complete. In return, I shared my thoughts on his works. It took about thirty minutes to finish touring the show. As Nara gazed off into the emptiness at the exit of the show, the setting sun shone in at an angle and I saw an unfamiliar kind of despair gleam in his clear brown eyes. If you ask me what art is, I would say it’s an apparatus for questioning what human beings are. I think this show allows us to closely follow and experience the raw past this human being Yololomo Nara has lived so far. It lets us discover his deep despair leading up to the present and, the hopes that may be awaiting him beyond.