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Her account is a timely and useful gateway into the postwar period of Japan, as well as the contemporary censorship issues in the country. Self-censorship is an more and more common problem for artists and newshounds in Japan, and it threatens democracy. In Hungary, for instance, reporters are afraid to ask debatable questions about the government simply because they could lose access to interviews and press conferences. Journalist Janos Karpati, a former EU correspondent, asked a question in regards to the death penalty and was told that his query was not applicable by Prime Minister Viktor Orban, and he was threatened with the lack of his job. While self-censorship among artists in Japan is not a new issue, recent cases of self-censorship in the arts rekindled the talk. A recent decision by the Aichi Triennale to cancel an endorsement of a group by South Korean artists depicting Japanese infantrymen in Nanjing has reignited the talk. While it's crucial to give protection to the freedom of expression, it can also embolden extremist facets. In Japan, most contemporary art museums are publicly owned, and the MAM has been the field of protests. However, despite its arguable position in the field, the museum is privately owned and backed by the powerful Mori family, that's a pillar of the Japanese culture. There are many motives why artists may self-censor their work. Some are symbolic, designed to promote social team spirit and avoid insults to shared values.

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