. Murakami, The show then toured to Fondation Cartier, Paris, as " Coloriage " (2002), and was reassembled as " Little Boy: The Art of Japan's Exploding Sub Cultures, Los Angeles MOCA, 2001.

D. See and . Mcgray, Japan's Gross National Cool For the story of the rise and fall of " Cool Japan " in Japanese contemporary art, see Adrian Favell, Before and After Superflat: A Short History of Japanese Contemporary Art, Foreign Policy, pp.44-54, 1990.

P. Galbraith, For a flavor of the sheer thrill in Western touristic consumption of pop culture in Neo- Tokyo, see two of the best guides: Patrick Macias and Tomohiro Machiyama, Cruising the Anime City: An Otaku Guide to Neo-Tokyo The Otaku Encyclopedia: An Insider's Guide to the Subculture of, Cool Japan, 2004.

S. Roman-cybriwsky and R. Crossing, The Demise of a Tokyo Nightclub District and the Reshaping of a Global City, Art, Design and the City, 2004.

T. Machimura, The Urban Restructuring Process in Tokyo in the 1980s: Transforming Tokyo into a World City Tokyo-as-World-City: Reassessing the Role of Capital and the State in Urban Restructuring, International Journal on Urban and Regional Research Urban Studies, vol.22, issue.448, pp.114-142, 1992.

S. Takashi-murakami, E. Tokyo-girls, and . Bravo, Asaka-shi, 2002); original exhibition 1999 Matsui Midori celebrated the works of two Kaikai Kiki artists, and several others with similar styles in The Age of Micropop: The New Generation of Japanese Artists, exh. cat. (Tokyo: Parco, 2007). A best-selling collection of the Kaikai Kiki girl artists in the West is Ivan Vartanian, Drop Dead Cute, 2005.

M. Takashi and . Geijutsu-kigyo-ron, The art entrepreneurship theory), Gentosha, 2005.

A. Mori and . Museum, Metabolism: The City of the Future?Dreams and Visions of Reconstruction in Postwar and Present Day Japan, See Favell, Before and After Superflat, pp.185-229, 1921.