J. Following and . Stallabrass, See Globalization and Contemporary Art 2011) for a comprehensive introductory discussion. This paper is an art theoretical spin on my account of the problematic internationalisation of recent Japanese contemporary art: Adrian Favell, Before and After Superflat: A Short History of Japanese Contemporary Art, 1990.

M. Tiampo, Cultural mercantilism: modernism's means of production -the Gutai group as case study': 212-224; and Reiko TomiiThe discourse of (l)imitation: a case study with hole-digging in 1960s Japan': 344-356; both in Harris, op.cit. 6 An analysis systematised by French sociologist Alain Quémin, 'The illusion of an international contemporary art scene without borders: the positions of different countries in the " age of globalization and mixing, International Sociology, vol.21, issue.4, pp.523-551

F. Lionnet, S. Shi, and M. Matsui, Micropop: The art of the late postmodern age', referring to French philosophers Gilles Deleuze and Felix Guattari, The Age of Micropop, pp.33-37, 2007.

T. Murakami, L. Superflat, and M. Angeles, The show then toured to Fondation Cartier, Paris as Coloriage (2002); and was resampled and remixed as Little Boy: The Art of Japan's Exploding Sub Cultures, 2001.

. 28-yanagi, The show ran 5, almost parallel to the new young artists shows at Ikeuchi's Röntgen Institute in Tokyo, ) and Fourtune, 1992.

A. Brown, of the new young Japanese Tokyo art scene, which attacks especially Takashi Murakami, leader of " the brat pack " , Noi Sawaragi for placing art in hip magazines, the business techniques of Masami Shiraishi, and the commercial " hoax " perpetuated in New York with Taro Chiezo by New York art dealer, Jeffrey Deitch, who will later take Mariko Mori to global fame, 30 Interviews with Masato Nakamura Elements of the story also draw on Hideki Nakazawa, Contemporary Art History, 1993.

M. Matsui, A. Boys, !. , and D. Kunsthalle, Pop Life's schlock horrors', The Guardian, 29 Sept 32 Interview with Masato Nakamura, op.cit. 33 Inside information on Makoto Aida is based on " ethnographic " participation in Mizuma and Bigakko events, as well as being given privileged access to all the Showa 40 nen kai entourage in the week of preparation before their show See also notes on his work in his collected works Makoto Aida, Monument For Nothing (Tokyo: 2007) 34 see Adrian FavellWhen will Aida be famous?', ART-iT blog Bijutsu ni nani ga ottottaka 1992-2006 [What Happened to Art? introduction. 36 ibid., 'What was the superflat project?', Murakami x Sawaragi dialogue, ??. 37 see Adrian Favell, 'Tokyo to LA story: How southern California became the gateway for a Japanese global pop art phenomenon', Kontur: Tidsskrift for Kulturstudier, Public Offerings 40 Bye Bye Kitty!!! Between Heaven and Hell in Contemporary Japanese Art op.cit. 41 Based on various meetings with Ozawa including a live discussion/interview with the artist at the Japan Foundation, 20 Sept 2011. 42 Notably, for example, he was part of Hans-Ulrich Obrist and Hou Hanru's Cities on the Move exhibitions 1997-9, How Latitudes Become Forms: Art in a Global Era and Thermocline of Art: New Asian Waves, pp.247-230, 1991.

H. Nakazawa, L. , and Y. Kawasaki, Les Presses du Réel 47 While wandering around this new gallery, I was surprised by a friendly tap on the shoulder: it was Ozawa He was working as a guide in the gallery, and he explained the show to me. 48 see Adrian Favell, 'Tsuyoshi Ozawa and relational art', ART-iT blog http://www.art-it.asia/u/rhqiun/0NukOMi9jWBVv8pXLKRe 49 My sources on Yoshitomo Nara include interviews with Tomio Koyama Hidefumi Hatakeyama, the manager of Nara's NPO Harappa Asian society curator; as well as several anonymous sources. See also especially the catalogue for Nobody's Fool Chronicle 2011) 52 Fascinating sources include: Arthur Lubow, 'The Murakami method'Whose that girl? The gender origins of Japanese contemporary art' (unpublished); as well as Murakami's own detailed presentation of the corporation in Summon Monsters? Open the Door? Heal? Or Die?: 2005). I was an accredited press visitor to GEISAI #11, the biggest GEISAI of allLost in translation: the politics of identity in the work of Takashi Murakami, Tsuyoshi Ozawa, Answer With Yes and No 54. 44 Tsuyoshi Ozawa, A Guidebook to Tsuyoshi Ozawa's World as well as numerous reviews and essays by Midori Matsui. 50 Interview with Paul Schimmel, op.cit. 51 Yoshitomo Nara, Complete Works: Museum of Contemporary Art 2001), and the historical documentation of the first years of GEISAI 53 Interview with Erina Matsui 54 Interviews with Kohei Nawa Pop Life: Art in a Material World, pp.50-64, 2001.