Speaking of Aida Makoto, I'm personally impressed by his work "Juicer Mixer," which depicts a large number of girls being crushed in a blender. When I found out that this work was part of the Takahashi Collection, it somehow made sense. One of the joys of a large solo exhibition is finding out who owns the artwork. One of the new works, a large folding screen titled "Telegraph Poles, Crows, and More," featured a crow holding a sailor uniform and a severed body part in its mouth. I can't wait to see who will own it. To me, Aida's signature works are those in which these powerful motifs are depicted with precision, beauty, and romance. I had the opportunity to interview Aida at the 2001 Yokohama Triennale. At the time, I was a political science student leaning toward feminism and still inexperienced. I remember seeing "Juicer Mixer" and feeling a bit conflicted, thinking, "How can such a straightforward, lovely person paint such intense works?" At that year's Triennale, a haiku referencing Mount Osutaka, where a Japan Airlines jumbo jet crashed, was painted on the wall of Aida's exhibition booth. However, perhaps due to the Triennale's sponsorship or some other consideration, I witnessed it being painted over before the exhibit was open to the public. Whether it's his "Dog" series, in which he depicts armless, legless girls chained like dogs, or his war-themed "War Painting Returns" series, Aida's works always evoke a tingling, almost edgy feeling that transcends the content. I'm sure I'm not the only one whose heart flutters at his willingness to delve into sensitive topics. Isn't this the universal requirement for handsomeness, regardless of age or gender? (laughs) I think the highlight of this exhibition was "Art and Philosophy #2," a video piece by Aida that plays on stereotypes of American, German, and French artists. I sat in front of this piece by Aida, which satirically points out the Western-centric framework of art, and lingered for a long time, laughing to myself. Aida exudes a sense of handsome heroism, and I felt a glimmer of hope for a bright future for Japan.