Of course, I, like the sponsoring government, would like to have as many people as possible visit Yokohama Triennale. This is because I believe that art should not be monopolized by professionals and specialists.

I planned the exhibition so that it becomes a story where the viewer travels through these islands [of ideas]. Whether the contents of each chapter came first or the artist came first in making the decision was different in each case.

I was worried that I, the artist Morimura, would have conflicts with the participating artists and develop a strenuous relationship with them. But the actual experience was completely the opposite. The artists accepted my requests rather positively, because it came from a fellow artist. I strongly feel that the fact that my being an artist avoided the usual curator vs artist tension, and led to creating a positive atmosphere as well as developing a solidarity amongst artists and building a community for artists.

I put priority on such artists who focus on the world of "oblivion" and who consider placing themselves into the world of "oblivion" as fundamental to their attitude for their expression.

Of course, the process of curating is different from art making. Exhibition-making is a process that involves collaboration with various participating artists.

I first wrote down all the phenomena that have emerged in contemporary society that I thought were related to this theme ["sea of oblivion"], and then sorted them out by grouping them into islands of ideas.

This is why there is not any artist who takes Internet as the theme. My position is quite the opposite to the current trend of art, but this is exactly why the title of my exhibition is "ART Fahrenheit 451".